Podcasts about eurocentric

In the late 1990s, psychologist Dr. Joseph Gone, a professor and member of the Aaniiih Gros Ventre tribe, returned home during his doctoral training to the Fort Belknap Reservation in north central Montana. There, he set aside Eurocentric concepts of psychology he was learning in school and instead asked tribal members how mental illness is addressed using traditional Indigenous practices. What he learned changed the trajectory of his career. Listen to find out how he helped bring precolonial cultural and spiritual practices into substance use disorder treatment in contemporary Indigenous settings. This show first aired in July 2024. Featuring: Dr. Joseph Gone, psychologist and interdisciplinary social scientist at Harvard University and member of the Aaniiih-Gros Ventre Tribal Nation of Montana Credits: Making Contact Team: Episode Host: Amy Gastelum Producers: Anita Johnson, Salima Hamirani, Amy Gastelum, and Lucy Kang Executive Director: Jina Chung Editor: Adwoa Gyimah-Brempong Engineer: Jeff Emtman  Digital Media Marketing: Lissa Deonarain Music credits: Songs: The Horses are Coming, The Gift, Song of Honor Album: The Return of the Buffalo Horses Artists: Darrell Norman and Ramon Kramer Learn More:  **Learn More:** Dr. Joseph Gone American Indian Health and Family Services, Detroit, MI Making Contact is an award-winning, nationally syndicated radio show and podcast featuring narrative storytelling and thought-provoking interviews. We cover the most urgent issues of our time and the people on the ground building a more just world.

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists.   In this two-part series of Oakland Asian Cultural Center's “Let's Talk” podcast Eastside Arts Alliance is featured. Elena Serrano and Susanne Takehara, two of the founders of Eastside Arts Alliance, and staff member Aubrey Pandori will discuss the history that led to the formation of Eastside and their deep work around multi-racial solidarity.   Transcript: Let's Talk podcast episode 9  [00:00:00] Emma: My name is Emma Grover, and I am the program and communications coordinator at the Oakland Asian Cultural Center, known also as OACC. Today we are sharing the ninth episode of our Let's Talk Audio Series. Let's Talk is part of OACC'S Open Ears for Change Initiative, which was established in 2020. With this series, our goals are to address anti-Blackness in the APIA communities, discuss the effects of colorism and racism in a safe space, and highlight Black and Asian solidarity and community efforts specifically in the Oakland Chinatown area. Today's episode is a round table discussion with Elena Serrano, Susanne Takahara, and Aubrey Pandori of Eastside Arts Alliance.  [00:00:53] Aubrey: Hello everybody. This is Aubrey from Eastside Arts Alliance, and I am back here for the second part of our Let's Talk with Suzanne and Elena. We're gonna be talking about what else Eastside is doing right now in the community. The importance of art in activism, and the importance of Black and Asian solidarity in Oakland and beyond.  So I am the community archivist here at Eastside Arts Alliances. I run CARP, which stands for Community Archival Resource Project. It is a project brought on by one of our co-founders, Greg Morozumi. And it is primarily a large chunk of his own collection from over the years, but it is a Third World archive with many artifacts, journals, pens, newspapers from social movements in the Bay Area and beyond, international social movements from the 1960s forward. We do a few different programs through CARP. I sometimes have archival exhibitions. We do public engagement through panels, community archiving days. We collaborate with other community archives like the Bay Area Lesbian Archives and Freedom Archives here in Oakland and the Bay Area. And we are also working on opening up our Greg Morozumi Reading Room in May. So that is an opportunity for people to come in and relax, read books, host reading groups, or discussions with their community. We're also gonna be opening a lending system so people are able to check out books to take home and read. There'll be library cards coming soon for that and other fun things to come.  [00:02:44] So Suzanne, what are you working on at Eastside right now? [00:02:48] Susanne: Well, for the past like eight or nine years I've been working with Jose Ome Navarrete and Debbie Kajiyama of NAKA Dance Theater to produce Live Arts and Resistance (LAIR), which is a Dance Theater Performance series. We've included many artists who, some of them started out here at Eastside and then grew to international fame, such as Dohee Lee, and then Amara Tabor-Smith has graced our stages for several years with House Full of Black Women. This year we're working with Joti Singh on Ghadar Geet: Blood and Ink, a piece she choreographed, and shot in film and it's a multimedia kind of experience. We've worked with Cat Brooks and many emerging other artists who are emerging or from all over, mostly Oakland, but beyond. It's a place where people can just experiment and not worry about a lot of the regulations that bigger theaters have. Using the outside, the inside, the walls, the ceiling sometimes. It's been an exciting experience to work with so many different artists in our space.  [00:04:03] Elena: And I have been trying to just get the word out to as many different folks who can help sustain the organization as possible about the importance of the work we do here. So my main job with Eastside has been raising money. But what we're doing now is looking at cultural centers like Eastside, like Oakland Asian Cultural Center, like the Malonga Casquelord Center, like Black Cultural Zone, like the Fruitvale Plaza and CURJ's work. These really integral cultural hubs. In neighborhoods and how important those spaces are.  [00:04:42] So looking at, you know, what we bring to the table with the archives, which serve the artistic community, the organizing community. There's a big emphasis, and we had mentioned some of this in the first episode around knowing the history and context of how we got here so we can kind of maneuver our way out. And that's where books and movies and posters and artists who have been doing this work for so long before us come into play in the archives and then having it all manifest on the stage through programs like LAIR, where theater artists and dancers and musicians, and it's totally multimedia, and there's so much information like how to keep those types of places going is really critical.  [00:05:28] And especially now when public dollars have mostly been cut, like the City of Oakland hardly gave money to the arts anyway, and they tried to eliminate the entire thing. Then they're coming back with tiny bits of money. But we're trying to take the approach like, please, let's look at where our tax dollars go. What's important in a neighborhood? What has to stay and how can we all work together to make that happen?  [00:05:52] Susanne: And I want to say that our Cultural Center theater is a space that is rented out very affordably to not just artists, but also many organizations that are doing Movement work, such as Palestinian Youth Movement, Bala, Mujeres Unidas Y Activas, QT at Cafe Duo Refugees, United Haiti Action Committee, Freedom Archives, Oakland Sin Fronteras, Center for CPE, and many artists connected groups.  [00:06:22] Aubrey: Yeah, I mean, we do so much more than what's in the theater and Archive too, we do a lot of different youth programs such as Girl Project, Neighborhood Arts, where we do public murals. One of our collective members, Angie and Leslie, worked on Paint the Town this past year. We also have our gallery in between the Cultural Center and Bandung Books, our bookstore, which houses our archive. We are celebrating our 25th anniversary exhibition.  [00:06:54] Susanne: And one of the other exhibits we just wrapped up was Style Messengers, an exhibit of graffiti work from Dime, Spy and Surge, Bay Area artists and Surge is from New York City, kind of illustrating the history of graffiti and social commentary.  [00:07:30] Elena: We are in this studio here recording and this is the studio of our youth music program Beats Flows, and I love we're sitting here with this portrait of Amiri Baraka, who had a lot to say to us all the time. So it's so appropriate that when the young people are in the studio, they have this elder, magician, poet activist looking at him, and then when you look out the window, you see Sister Souljah, Public Enemy, and then a poster we did during, when Black Lives Matter came out, we produced these posters that said Black Power Matters, and we sent them all over the country to different sister cultural centers and I see them pop up somewhere sometimes and people's zooms when they're home all over the country. It's really amazing and it just really shows when you have a bunch of artists and poets and radical imagination, people sitting around, you know, what kind of things come out of it. [00:08:31] Aubrey: I had one of those Black Power Matters posters in my kitchen window when I lived in Chinatown before I worked here, or visited here actually. I don't even know how I acquired it, but it just ended up in my house somehow.  [00:08:45] Elena: That's perfect. I remember when we did, I mean we still do, Malcolm X Jazz Festival and it was a young Chicana student who put the Jazz Festival poster up and she was like, her parents were like, why is Malcolm X? What has that got to do with anything? And she was able to just tell the whole story about Malcolm believing that people, communities of color coming together  is a good thing. It's a powerful thing. And it was amazing how the festival and the youth and the posters can start those kind of conversations.  [00:09:15] Aubrey: Malcolm X has his famous quote that says “Culture is an indispensable weapon in the freedom struggle.” And Elena, we think a lot about Malcolm X and his message here at Eastside about culture, but also about the importance of art. Can we speak more about the importance of art in our activism?  [00:09:35] Elena: Well, that was some of the things we were touching on around radical imagination and the power of the arts. But where I am going again, is around this power of the art spaces, like the power of spaces like this, and to be sure that it's not just a community center, it's a cultural center, which means we invested in sound good, sound good lighting, sprung floors. You know, just like the dignity and respect that the artists and our audiences have, and that those things are expensive but critical. So I feel like that's, it's like to advocate for this type of space where, again, all those groups that we listed off that have come in here and there's countless more. They needed a space to reach constituencies, you know, and how important that is. It's like back in the civil rights organizing the Black church was that kind of space, very important space where those kind of things came together. People still go to church and there's still churches, but there's a space for cultural centers and to have that type of space where artists and activists can come together and be more powerful together.  [00:10:50] Aubrey: I think art is a really powerful way of reaching people. [00:10:54] Elena: You know, we're looking at this just because I, being in the development end, we put together a proposal for the Environmental Protection Agency before Donald (Trump) took it over. We were writing about how important popular education is, so working with an environmental justice organization who has tons of data about how impacted communities like East Oakland and West Oakland are suffering from all of this, lots of science. But what can we, as an arts group, how can we produce a popular education around those things? And you know, how can we say some of those same messages in murals and zines, in short films, in theater productions, you know, but kind of embracing that concept of popular education. So we're, you know, trying to counter some of the disinformation that's being put out there too with some real facts, but in a way that, you know, folks can grasp onto and, and get.  [00:11:53] Aubrey: We recently had a LAIR production called Sky Watchers, and it was a beautiful musical opera from people living in the Tenderloin, and it was very personal. You were able to hear about people's experiences with poverty, homelessness, and addiction in a way that was very powerful. How they were able to express what they were going through and what they've lost, what they've won, everything that has happened in their lives in a very moving way. So I think art, it's, it's also a way for people to tell their stories and we need to be hearing those stories. We don't need to be hearing, I think what a lot of Hollywood is kind of throwing out, which is very white, Eurocentric beauty standards and a lot of other things that doesn't reflect our neighborhood and doesn't reflect our community. So yeah, art is a good way for us to not only tell our stories, but to get the word out there, what we want to see changed.  So our last point that we wanna talk about today is the importance of Black and Asian solidarity in Oakland. How has that been a history in Eastside, Suzanne?  [00:13:09] Susanne: I feel like Eastside is all about Third World solidarity from the very beginning. And Yuri Kochiyama is one of our mentors through Greg Morozumi and she was all about that. So I feel like everything we do brings together Black, Asian and brown folks. [00:13:27] Aubrey: Black and Asian solidarity is especially important here at Eastside Arts Alliance. It is a part of our history. We have our bookstore called Bandung Books for a very specific reason, to give some history there. So the Bandung Conference happened in 1955 in Indonesia, and it was the first large-scale meeting of Asian and African countries. Most of which were newly independent from colonialism. They aimed to promote Afro-Asian cooperation and rejection of colonialism and imperialism in all nations. And it really set the stage for revolutionary solidarity between colonized and oppressed people, letting way for many Third Worlds movements internationally and within the United States.  [00:14:14] Eastside had an exhibition called Bandung to the Bay: Black and Asian Solidarity at Oakland Asian Cultural Center the past two years in 2022 and 2023 for their Lunar New Year and Black History Month celebrations. It highlighted the significance of that conference and also brought to light what was happening in the United States from the 1960s to present time that were creating and building solidarity between Black and Asian communities. The exhibition highlighted a number of pins, posters, and newspapers from the Black Liberation Movement and Asian American movement, as well as the broader Third World movement. The Black Panthers were important points of inspiration in Oakland, in the Bay Area in getting Asian and Pacific Islanders in the diaspora, and in their homelands organized.  [00:15:07] We had the adoption of the Black Panthers 10-point program to help shape revolutionary demands and principles for people's own communities like the Red Guard in San Francisco's Chinatown, IWK in New York's Chinatown and even the Polynesian Panthers in New Zealand. There were so many different organizations that came out of the Black Panther party right here in Oakland. And we honor that by having so many different 10-point programs up in our theater too. We have the Brown Berets, Red Guard Party, Black Panthers, of course, the American Indian Movement as well. So we're always thinking about that kind of organizing and movement building that has been tied here for many decades now.  [00:15:53] Elena: I heard that the term Third World came from the Bandung conference. [00:15:58] Aubrey: Yes, I believe that's true.  [00:16:01] Elena: I wanted to say particularly right now, the need for specifically Black Asian solidarity is just, there's so much misinformation around China coming up now, especially as China takes on a role of a superpower in the world. And it's really up to us to provide some background, some other information, some truth telling, so folks don't become susceptible to that kind of misinformation. And whatever happens when it comes from up high and we hate China, it reflects in Chinatown. And that's the kind of stereotyping that because we have been committed to Third World solidarity and truth telling for so long, that that's where we can step in and really, you know, make a difference, we hope. I think the main point is that we need to really listen to each other, know what folks are going through, know that we have more in common than we have separating us, especially in impacted Black, brown, Asian communities in Oakland. We have a lot to do.  [00:17:07] Aubrey: To keep in contact with Eastside Arts Alliance, you can find us at our website: eastside arts alliance.org, and our Instagrams at Eastside Cultural and at Bandung Books to stay connected with our bookstore and CArP, our archive, please come down to Eastside Arts Alliance and check out our many events coming up in the new year. We are always looking for donations and volunteers and just to meet new friends and family.  [00:17:36] Susanne: And with that, we're gonna go out with Jon Jang's “The Pledge of Black Asian Alliance,” produced in 2018.  [00:18:29] Emma: This was a round table discussion at the Eastside Arts Alliance Cultural Center with staff and guests: Elena, Suzanne and Aubrey.  Let's Talk Audio series is one of OACC'S Open Ears for Change projects and as part of the Stop the Hate Initiative with funds provided by the California Department of Social Services in consultation with the commission of Asian and Pacific Islander American Affairs to administer $110 million allocated over three years to community organizations. These organizations provide direct services to victims of hate and their families and offer prevention and intervention services to tackle hate in our communities. This episode is a production of the Oakland Asian Cultural Center with engineering, editing, and sound design by Thick Skin Media.  [00:19:18] A special thanks to Jon Jang for permission to use his original music. And thank you for listening.  [00:19:32] Music: Life is not what you alone make it. Life is the input of everyone who touched your life and every experience that entered it. We are all part of one another. Don't become too narrow, live fully, meet all kinds of people. You'll learn something from everyone. Follow what you feel in your heart. OACC Podcast [00:00:00] Emma: My name is Emma Grover, and I am the program and communications coordinator at the Oakland Asian Cultural Center, known also as OACC. Today we are sharing the eighth episode of our Let's Talk audio series. Let's talk as part of OACC's Open Ears for Change Initiative, which was established in 2020. With this series, our goals are to address anti-blackness in the APIA communities, discuss the effects of colorism and racism in a safe space, and highlight black and Asian solidarity and community efforts specifically in the Oakland Chinatown area.   [00:00:43] Today's guests are Elena Serrano and Suzanne Takahara, co-founders of Eastside Arts Alliance. Welcome Elena and Suzanne, thank you so much for joining today's episode. And so just to kick things off, wanna hear about how was Eastside Arts Alliance started?   [00:01:01] Susanne: Well, it was really Greg Morozumi who had a longstanding vision of creating a cultural center in East Oakland, raised in Oakland, an organizer in the Bay Area, LA, and then in New York City where he met Yuri Kochiyama, who became a lifelong mentor.   [00:01:17] Greg was planning with one of Yuri's daughters, Ichi Kochiyama to move her family to Oakland and help him open a cultural center here. I met Greg in the early nineties and got to know him during the January, 1993 “No Justice, No Peace” show at Pro Arts in Oakland. The first Bay Graffiti exhibition in the gallery. Greg organized what became a massive anti-police brutality graffiti installation created by the TDDK crew. Graffiti images and messages covered the walls and ceiling complete with police barricades. It was a response to the Rodney King protests. The power of street art busted indoors and blew apart the gallery with political messaging. After that, Greg recruited Mike Dream, Spy, and other TDK writers to help teach the free art classes for youth that Taller Sin Fronteras was running at the time.   [00:02:11] There were four artist groups that came together to start Eastside. Taller Sin Fronteras was an ad hoc group of printmakers and visual artists activists based in the East Bay. Their roots came out of the free community printmaking, actually poster making workshops that artists like Malaquias Montoya and David Bradford organized in Oakland in the early 70s and 80s.   [00:02:34] The Black Dot Collective of poets, writers, musicians, and visual artists started a popup version of the Black Dot Cafe. Marcel Diallo and Leticia Utafalo were instrumental and leaders of this project. 10 12 were young digital artists and activists led by Favianna Rodriguez and Jesus Barraza in Oakland. TDK is an Oakland based graffiti crew that includes Dream, Spie, Krash, Mute, Done Amend, Pak and many others evolving over time and still holding it down.   [00:03:07] Elena: That is a good history there. And I just wanted to say that me coming in and meeting Greg and knowing all those groups and coming into this particular neighborhood, the San Antonio district of Oakland, the third world aspect of who we all were and what communities we were all representing and being in this geographic location where those communities were all residing. So this neighborhood, San Antonio and East Oakland is very third world, Black, Asian, Latinx, indigenous, and it's one of those neighborhoods, like many neighborhoods of color that has been disinvested in for years. But rich, super rich in culture.   [00:03:50] So the idea of a cultural center was…let's draw on where our strengths are and all of those groups, TDKT, Taller Sin Fronters, Black artists, 10 – 12, these were all artists who were also very engaged in what was going on in the neighborhoods. So artists, organizers, activists, and how to use the arts as a way to lift up those stories tell them in different ways. Find some inspiration, ways to get out, ways to build solidarity between the groups, looking at our common struggles, our common victories, and building that strength in numbers.   [00:04:27] Emma: Thank you so much for sharing. Elena and Suzanne, what a rich and beautiful history for Eastside Arts Alliance.   [00:04:34] Were there any specific political and or artistic movements happening at that time that were integral to Eastside's start?   [00:04:41] Elena: You know, one of the movements that we took inspiration from, and this was not happening when Eastside got started, but for real was the Black Panther Party. So much so that the Panthers 10-point program was something that Greg xeroxed and made posters and put 'em up on the wall, showing how the 10-point program for the Panthers influenced that of the Young Lords and the Brown Berets and I Wor Kuen (IWK).   [00:05:07] So once again, it was that Third world solidarity. Looking at these different groups that were working towards similar things, it still hangs these four posters still hang in our cultural, in our theater space to show that we were all working on those same things. So even though we came in at the tail end of those movements, when we started Eastside, it was very much our inspiration and what we strove to still address; all of those points are still relevant right now.   [00:05:36] Susanne: So that was a time of Fight The Power, Kaos One and Public Enemy setting. The tone for public art murals, graphics, posters. So that was kind of the context for which art was being made and protests happened.   [00:05:54] Elena: There was a lot that needed to be done and still needs to be done. You know what? What the other thing we were coming on the tail end of and still having massive repercussions was crack. And crack came into East Oakland really hard, devastated generations, communities, everything, you know, so the arts were a way for some folks to still feel power and feel strong and feel like they have agency in the world, especially hip hop and, spray can, and being out there and having a voice and having a say, it was really important, especially in neighborhoods where things had just been so messed up for so long.   [00:06:31] Emma: I would love to know also what were the community needs Eastside was created to address, you know, in this environment where there's so many community needs, what was Eastside really honing in on at this time?   [00:06:41] Elena: It's interesting telling our story because we end up having to tell so many other stories before us, so things like the, Black Arts movement and the Chicano Arts Movement. Examples of artists like Amiri Baraka, Malaguias Montoya, Sonya Sanchez. Artists who had committed themselves to the struggles of their people and linking those two works. So we always wanted to have that. So the young people that we would have come into the studio and wanna be rappers, you know, it's like, what is your responsibility?   [00:07:15] You have a microphone, you amplify. What are some of the things you're saying? So it was on us. To provide that education and that backstory and where they came from and the footsteps we felt like they were in and that they needed to keep moving it forward. So a big part of the cultural center in the space are the archives and all of that information and history and context.   [00:07:37] Susanne: And we started the Malcolm X Jazz Arts Festival for that same reason coming out of the Bandung Conference. And then the Tri Continental, all of this is solidarity between people's movements.   [00:07:51] Emma: You've already talked about this a little bit, the role of the arts in Eastside's foundation and the work that you're doing, and I'd love to hear also maybe how the role of the arts continues to be important in the work that you're doing today as a cultural center.   [00:08:04] And so my next question to pose to you both is what is the role of the arts at Eastside?   [00:08:10] Elena: So a couple different things. One, I feel like, and I said a little bit of this before, but the arts can transmit messages so much more powerfully than other mediums. So if you see something acted out in a theater production or a song or a painting, you get that information transmitted in a different way.   [00:08:30] Then also this idea of the artists being able to tap into imagination and produce images and visions and dreams of the future. This kind of imagination I just recently read or heard because folks aren't reading anymore or hardly reading that they're losing their imagination. What happens when you cannot even imagine a way out of things?   [00:08:54] And then lastly, I just wanted to quote something that Favianna Rodriguez, one of our founders always says “cultural shift precedes political shift.” So if you're trying to shift things politically on any kind of policy, you know how much money goes to support the police or any of these issues. It's the cultural shift that needs to happen first. And that's where the cultural workers, the artists come in.   [00:09:22] Susanne: And another role of Eastside in supporting the arts to do just that is honoring the artists, providing a space where they can have affordable rehearsal space or space to create, or a place to come safely and just discuss things that's what we hope and have created for the Eastside Cultural Center and now the bookstore and the gallery. A place for them to see themselves and it's all um, LGBTA, BIPOC artists that we serve and honor in our cultural center. To that end, we, in the last, I don't know, 8, 9 years, we've worked with Jose Navarrete and Debbie Kajiyama of Naka Dance Theater to produce live arts and resistance, which gives a stage to emerging and experienced performance artists, mostly dancers, but also poets, writers, theater and actors and musicians.   [00:10:17] Emma: The last question I have for you both today is what is happening in the world that continues to call us to action as artists?   [00:10:27] Elena: Everything, everything is happening, you know, and I know things have always been happening, but it seems really particularly crazy right now on global issues to domestic issues. For a long time, Eastside was um, really focusing in on police stuff and immigration stuff because it was a way to bring Black and brown communities together because they were the same kind of police state force, different ways.   [00:10:54] Now we have it so many different ways, you know, and strategies need to be developed. Radical imagination needs to be deployed. Everyone needs to be on hand. A big part of our success and our strength is organizations that are not artistic organizations but are organizing around particular issues globally, locally come into our space and the artists get that information. The community gets that information. It's shared information, and it gives us all a way, hopefully, to navigate our way out of it.   [00:11:29] Susanne: The Cultural Center provides a venue for political education for our communities and our artists on Palestine, Haiti, Sudan, immigrant rights, prison abolition, police abolition, sex trafficking, and houselessness among other things.   [00:11:46] Elena: I wanted to say too, a big part of what's going on is this idea of public disinvestment. So housing, no such thing as public housing, hardly anymore. Healthcare, education, we're trying to say access to cultural centers. We're calling that the cultural infrastructure of neighborhoods. All of that must be continued to be supported and we can't have everything be privatized and run by corporations. So that idea of these are essential things in a neighborhood, schools, libraries, cultural spaces, and you know, and to make sure cultural spaces gets on those lists.   [00:12:26] Emma: I hear you. And you know, I think every category you brought up, actually just now I can think of one headline or one piece of news recently that is really showing how critically these are being challenged, these basic rights and needs of the community. And so thank you again for the work that you're doing and keeping people informed as well. I think sometimes with all the news, both globally and, and in our more local communities in the Bay Area or in Oakland. It can be so hard to know what actions to take, what tools are available. But again, that's the importance of having space for this type of education, for this type of activism. And so I am so grateful that Eastside exists and is continuing to serve our community in this way.   What is Eastside Arts Alliance up to today? Are there any ways we can support your collective, your organization, what's coming up?   [00:13:18] Elena: Well, this is our 25th anniversary. So the thing that got us really started by demonstrating to the community what a cultural center was, was the Malcolm X Jazz Arts Festival, and that this year will be our 25th anniversary festival happening on May 17th.   [00:13:34] It's always free. It's in San Antonio Park. It's an amazing day of organizing and art and music, multi-generational. It's beautiful. It's a beautiful day. Folks can find out. We have stuff going on every week. Every week at the cultural center on our website through our socials. Our website is Eastside Arts alliance.org, and all the socials are there and there's a lot of information from our archives that you can look up there. There's just just great information on our website, and we also send out a newsletter.   [00:14:07] Emma: Thank you both so much for sharing, and I love you bringing this idea, but I hear a lot of arts and activism organizations using this term radical imagination and how it's so needed for bringing forth the future that we want for ourselves and our future generations.   [00:14:24] And so I just think that's so beautiful that Eastside creates that space, cultivates a space where that radical imagination can take place through the arts, but also through community connections. Thank you so much Elena and Suzanne for joining us today.   [00:14:40] Susanne: Thank you for having us.   [00:15:32] Emma: Let's Talk Audio series is one of OACC'S Open Ears for Change projects and is part of the Stop the Hate Initiative with funds provided by the California Department of Social Services. In consultation with the commission of Asian and Pacific Islander American Affairs to administer $110 million allocated over three years to community organizations. These organizations provide direct services to victims of hate and their families, and offer prevention and intervention services to tackle hate in our communities.   This episode is a production of the Oakland Asian Cultural Center with engineering, editing, and sound design by Thick Skin Media. A special thanks to Jon Jang for permission to use his original music, and thank you for listening.   [00:16:34] Music: Life is not what you alone make it. Life is the input of everyone who touched your life and every experience that entered it. We are all part of one another. Don't become too narrow. Live fully, meet all kinds of people. You'll learn something from everyone. Follow what you feel in your heart. The post APEX Express – August 14, 2025 appeared first on KPFA.

We will be back next week with a new episode! In the meantime, enjoy this re-release of our episode featuring Dr. Anika Prather.Show notes: Dr. Prather's WebsiteDr. Anika's Suggested Authors to Include in Your Study of the Cannon: Octavia Butler Anna Julia Cooper James Baldwin Martin Luther King Corretta Scott King Ralph EllisonRichard Wright Alain Locke Langston Hughes Carter G. Woodson Other Harlem Renaissance Author  (00:00) - Intro with Dr. Anika Prather (02:22) - Is there Eurocentrism in classical education? (09:01) - Finding a better word than "eurocentrism" (12:33) - Marxist philosophy in classical education (15:42) - How to get to synthesis (38:58) - Classical education is understanding the human condition (43:02) - Wrapping up (43:21) - Outro

First-generation children of immigrants often struggle with bicultural straddling, impacting their sense of identity, their mental health, their priorities and values, and their relationships. They can also find it difficult to be understood and loved by their parents in a way they can truly feel. Dr. Alexandra is joined by Sahaj Kaur Kohli, founder of Brown Girl Therapy and author of But What Will People Say: Navigating Mental Health, Identity, Love and Family Between Cultures to discuss how we can develop more capacity to love across differences and make shifts within ourselves to change our relationships for the better.You will come away from this conversation with:Validation for identity tensions you may carry as the child of immigrant parents (or more perspective on these identity tensions if you are not!)Insight into balancing personal boundaries with cultural expectations, especially when dealing with clashing priorities - plus a fresh perspective on how to approach healingTips on finding the right therapist and how to ensure you're receiving culturally-attuned care given the mental health field's bias toward a Eurocentric and individualized approach Strategies for building healthier relationships - with yourself, your family, and romantic partners - while honoring your heritage“Your Midyear Refresh” on MasterClass: masterclass.com/yourmidyearrefreshCouple Therapy Certification Course from PESI: pesi.com/dralexandraBut What Will People Say: Navigating Mental Health, Identity, Love and Family Between Cultures by Sahaj Kaur KohliBrown Girl Therapy Instagram Culturally Enough SubstackLearn more about Sahaj Kaur KohliOrder Dr. Alexandra's book, Love Every DaySubmit a Listener Question

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. On tonight's edition of Obbligato on APEX Express, which focuses on AAPI artists, musicians, and composers in the classical music world, host Isabel Li is joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. Featured Music: Sonatrinas: https://richardan.bandcamp.com/album/sonatrinas i got the electroshock blues: https://rasprecords.bandcamp.com/album/i-got-the-electroshock-blues   RICHARD AN (b.1995) is a performer and composer, born and raised in Los Angeles. Richard plays new music – usually with House on Fire – co-founded the tiny backpack new music series, and has performed with Monday Evening Concerts' Echoi Ensemble, Piano Spheres, The Industry and on Bang on a Can's LOUD Weekend. Richard plays piano and percussion, and has been known to sing, conduct, and teach. Richard's music has been performed by the Los Angeles Philharmonic Orchestra, Calder Quartet, HOCKET, C3LA, and more. His music has been released on CMNTX Records. Richard has a BM in Composition from USC and an MFA from CalArts. He is on faculty at the Pasadena Waldorf School, Glendale Community College and Harvard-Westlake. He plays taiko and tabla, and makes YouTube videos. Learn more about Richard's work on his website: https://richardanmusic.com/ Richard's social media: https://www.instagram.com/richardanmusic/ If you are in LA and want hear Richard's work, he's playing with House on Fire at the Sierra Madre Playhouse on August 17! https://www.sierramadreplayhouse.org/event/richardan2025   Transcript Opening: [00:00:00] APEX Express. Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express. 00:00:46 Isabel Li Good evening and welcome back to a new episode of Apex Express on KPFA, 94.1 FM. We are bringing you an Asian and Asian American view from the Bay and around the world. I'm your host, Isabel Li, and tonight is a new edition of Obbligato, which explores AAPI identities and classical music. Tonight I'm joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. 00:01:41 Isabel Li Welcome to the show. Welcome to APEX Express, Richard. My first question for you is how do you identify and what communities would you say that you're a part of? 00:01:50 Richard An My name is Richard An I use he/him pronouns and I'm a second generation Korean American. My parents are both Korean. My dad came from Busan, which is a large city in South Korea, and my mom was born in Seoul and then moved to South America and then made her way up to Los Angeles where they met. And as for identity, like, I think Korean American would be the most accurate one. This is and I think an ever evolving part of first of all my identity and the way that it intersects with my practice and also I think that's the case with many Asian American artists, I mean artists from immigrant families, you know, the the matter of your identity, especially if you feel more distanced from it for one reason or another, is like an unsolved question for everyone like there is no one answer. That works for people and that's a thing that me people like myself I think will be exploring for our entire lives. When I introduce myself to people, I say that I'm a classical musician. And at the very core of it, that is true. That's not a lie. And I am, you know, a part of the classical music community in Los Angeles. But as time goes on, I have noticed and realized. That I tend to align myself more with like the avant-garde and experimental contemporary music communities of Los Angeles, which has certainly an overlap with the classical community, both in practice and historically, but yeah, I I would say those are the sort of two biggest ones, classical musicians and experimental avant-garde, contemporary musicians, whatever label you want to use for that. 00:03:47 Isabel Li Yeah. Some of our listeners might not know what avant-garde music entails. Can you — how would you describe avant-garde music to someone who might not be as familiar with this particular movement? 00:03:57 Richard An Yeah. So avant-garde music, a sort of flippant and joking way to to talk about it is ugly music or music. You know, my dad, for example, wouldn't like, but I think. It's music that either interfaces with elements or confronts facets or issues in music that aren't typical of other kinds of music. The music that you might hear that is labeled of on guard might be noisy or dissonant or uncomfortable, or any kind of, you know, adjectives that are synonyms for noisy or ugly, but I have come to love that kind of music, you know 1. Because of the the kind of questions that they might ask about our perceptions of music and two, because I guess one way to put it is that to be a classical musician, you need to be in a practice room for many hours a day for many years and go to what is unfortunately a college, which is usually very expensive and I guess for lack of a better term, paywalled for like you need to have the kind of resources that allow you to attend a four year undergrad and then a two year masters and then a three-year doctorate. But avant-garde music, contemporary music, experimental music doesn't necessitate that kind of thing. Often those musicians do have a background that gives them some amount of, you know, virtuosity or facility in an instrument. But like some of the best experimental musicians. Alive and some of the best ones that I know have no, like extensive training in a particular instrument and some may not have a degree in music at all. And that's one thing that I in like that separates it from classical music is that. 00:05:44 Richard An Classical music can be, unfortunately a little bit exclusionary. I don't think by any one specific design, but the fact that you need so many hours and very specific instructions from a mentor that necessitate that kind of relationship. But experimental music, I think does a little bit better job of diversifying or making it feel more equitable. 00:06:12 Isabel Li That's a great point, actually. One of my questions following up with that was what do you think is possible with this genre, which you kind of mentioned earlier with perhaps how this genre makes classical music a little bit more equitable for those who are interested in this field. In your experience, composing, what do you think makes the genre special, and how do you go about it? 00:06:35 Richard An One thing that I've noticed about being involved in the sort of contemporary experimental avant-garde music sphere is that it makes me a better listener, and I think other people who attend these concerts will agree. Like for example a large part of this kind of music is drone or repetition or, you know, like long spans of unchanging sound. And if the the sound that is being produced at face value is not changing, well then what do you notice about it? What do you grab on to and one of the most, I think, gratifying experiences is listening deeper and realizing that, ohh, even though you know for example this piano playing two notes for 30 minutes might not like the instructions will say to do the same thing for 30 minutes, but your experience as a human being will certainly change over those 30 minutes, even if the the notes are not like you will notice the slight fluctuations in the way that someone is playing, you will notice the beating patterns in the pitches on an instrument that may not be perfectly in tune, you will note other ambient sounds, you will note like you will notice so much more about the world when you are confronted with the kind of music that you know. You can say it forces you to listen to these sounds but also invites you to listen to these things. And I think that's really, really special. That's not to say that that can't happen with other kinds of music. Or even with classical music. Surely you know there are many, many ways to listen to everything. But I've noticed this within myself. When I listen to long, repetitive drone based music that it really opens my ears and makes me a more active participant as a listener. 00:08:30 Isabel Li It's a great point actually. Part of my work– because I studied music, history and theory in college– was how music can engage various listeners to participate. Have you composed anything that perhaps engages the listener in this more of a participatory setting? 00:08:47 Richard An Yeah. So I guess in order the some of the stuff that I've done to engage the audience, I guess both literally, and maybe more figuratively is, I wrote a piece last year for the Dog Star festival, which is a a contemporary and experimental music festival that is actually happening right now, at the time of this recording. It's a multi week long festival that focuses on music of this type that was founded by people in the sort of CalArts music world. But I wrote a piece for that last year for three melodicas, which are these basically toy instruments that look like keyboards, but you blow into them and you blowing air through these makes the sound happen. It's basically like if you cross a harmonica and a piano together. But I I wrote a piece for three of these, playing essentially the same notes. And because these instruments are pretty cheap, and they're often considered toys or, you know, instruments for children, they're not tuned to the exact way that, like a piano or a vibraphone or an expensive instrument might be. But I wanted to use that for my advantage. For example, if I play an F# on one melodica the same F# on another melodica will not be exactly the same and playing those two pitches together will produce what's known as a a beat or beat frequency. Which is, you know, a complicated, you know, mathematic physics thing, but basically 2 notes that are really, really close, but not quite together will create a kind of third rhythm because the the pitches are so close. Like, for example, if if I play an A at 4:40 and another A at 441, you will notice that difference of 1 Hertz inside of your ears. And that's a really cool phenomenon that happens explicitly because you were there listening to the piece. They don't happen necessarily, you know, like in, in recorded formats like, it's a very difficult thing to capture unless you are in the room with these instruments. And the fact that we had this audience of, let's say, 40 people meant that all forty of these people were experiencing these beat frequencies and another really cool factor of this is depending on where you are located in the room. With the way that the beats will sound in your ears are different and purely by the fact of acoustics like a wave bouncing off of the wall over on your left, will feel really different if you are closer or further from that wall. So not only do the audiences ears themselves, you know, invite these this this participation, but the pure physicality of each listener means that they will have a very slightly different experience of what the piece is, and again like this will happen in any concert. If you're at a classical show, if you're at a rock show if, if you're further from the stage, if you're further to the left or right, you will get a slightly different position in the stereo field that the musicians are playing in, but pieces like what I wrote and many others that exist emphasize this kind of like acoustic phenomena. That is really, really fascinating to listen to. 00:12:23 Isabel Li That's fascinating. And to get a sense of Richard's work, we'll be hearing coming up next. The short excerpt from his album Sonatrinas. This is the duo excerpt performed by Wells Leng, Katie Aikam, Kevin Good and composer Richard An himself. [COMP MUSIC: Sonatrinas (Excerpt: Duo)] 00:17:38 Richard An And so the back story for this piece is this was written for one of my recitals at CalArts. I was planning on playing this piece by Michael Gordon called Sonatra, which is a really, really beautiful and difficult piece for solo piano that I gave myself as an assignment, which I was not able to do with the amount of time. And, you know, like I just didn't give myself enough time to do this thing, so I still had this program of several pieces written with the idea of having this Michael Gordon Sonatra in the middle, but now that that sort of middle part was gone, there was a bunch of pieces about a piece that didn't exist. So in order to fill that hole, I wrote this piece called Sonatrinas which is a cheeky nod to the Michael Gordon Sonatra, but also to the fact that each part of this is kind of a diminutive Sonata form. Everything has a sort of ABA– here's some idea. Here's a different idea, and now we go back to that first idea. Every single part of this has a little bit of that in it. 00:18:51 Isabel Li Yeah, that's fascinating. Even the name itself reminds me of Sonata form in classical music, where it's kind of like an ABA section. As you sort of talked about earlier. And it's really cool that you're adapting this in a more avant-garde context. This is a reminder you're listening to Apex Express. Today we are interviewing composer and musician Richard An. 00:19:12 Isabel Li I think the general question that I have next is can you tell me a bit about what drew you to music and how you got your start in music, how you got introduced to it and what things have inspired you over the years? 00:19:24 Richard An Yeah. So a real quick sort of, I guess, history of my involvement with music is that I started piano lessons when I was pretty young, either three or four years old. I continued that until I was 12 or 13. I decided I really wanted to become a musician. I started taking composition lessons with this composer, AJ McCaffrey, who is really responsible for a lot of what I know and my successes, if you can call it that. He got me into a lot of the music that I am into now and set the foundation for what I would study and what I would write he was one of the instructors for this program called the LA Phil Composer Fellowship program, which back when I was a participant from 2011 to 2013, was a program hosted by the Los Angeles Philharmonic that took 4 high school age students every two years. And you know, they they taught us, you know, everything. How a young composer needs to know how instruments work, how to write a score, how to talk to musicians, how to do everything that a that a composer needs to learn how to do and at the end of this program, after the two years the young composers write a piece for the at the LA Philharmonic. So I was extremely lucky that by the age of 17 I was able to write a piece for orchestra and get that played and not just any orchestra, with the Los Angeles Philharmonic, you know, undisputedly one of the best orchestras in the world. Right. And then after that I I went to USC for my undergrad and then went to CalArts for my masters. And then here we are now. And that those are sort of the like, you know if someone writes a biography about me, that's what we'll be, you know, involved in the thing. But I really started to develop my love for music in my freshman and sophomore year. In high school I I started to get into more and more modern composers. I started to get into more and more noisy things and a lot of this coincided actually with the passing of my mother. She died when I was 14 and you know that in any human the death of a parent will cause you to reevaluate and rethink aspects of your life. Things that you thought were certainties will not be there anymore. So for me, I stopped taking piano lessons and I sort of went headfirst into composition and which is why my degrees are specifically in composition and not piano. Had my mother's passing not happened, you know, who knows what I would be doing now? Maybe I'm not a composer at all. Maybe I'm not into avant-garde music at all, but because things happen the way that they did, I suddenly took a quick turn into avant-garde music and my involvement there only grew more and more and more. Until you know where I am today, I'm almost 30 years old, so I've been listening to and a participant of this music for maybe 15 years or so and I'm quite happy. 00:22:43 Isabel Li That's awesome to hear. 00:22:45 Isabel Li And perhaps a testament to Richard one's very versatile compositional style and avant-garde music coming up next are three pieces from his album i got the electroshock blues. There are five pieces in the album in total, but we will be hearing three of them. The first one called “feeling, scared today,” the second one, “pink pill,” and the fifth one, “la la.” [COMP MUSIC: i got the electroshock blues: 1. “feeling, scared today”, 2. “pink pill”, 3. “la la”.] 00:36:41 Richard An Earlier last year, I released a collection of live recordings under the title of I got the Electroshock Blues. Electroshock Blues is a song by the band Eels I encountered at a pivotal moment in my life. This was right around the time that my mother passed and this record and this song is heavily centered in grief. The main musician in the Eels, Mark Oliver Everett, was dealing with the passing of multiple family members and people who were close to him so it hit me in just the right way at just the right time. And because of that, this song specifically has stayed with me for many, many years. I found myself coming back to the contents of this song as I was composing and all the pieces on this album, of which there are 5 heavily take material from this song, whether that's words, chords, the melody. I really, you know, take it apart, dissect it and use those as ingredients in the pieces that I have written here and all of these are live recordings except for the first piece which was recorded in my studio. I just sort of overdubbed the parts myself, and there are credits in the liner notes for this album, but I just want to say that. The first piece which is called “feeling, scared today,” was originally written for the Hockett piano duo, which is a duo comprised of Thomas Kotcheff and Sarah Gibson. Sarah Gibson was a really close friend of mine who passed away last year and now this piece which in some way came out of a feeling of grief now has renewed meaning and another facet or aspect of this piece is centered in grief now. Because this was dedicated to Thomas and Sarah. Yeah. So these pieces are all derived from this one song. 00:38:57 Isabel Li That's a beautiful response. Thank you so much. Kind of following along your background and how you got to where you are. How do you think your identity has informed your work as a composer and musician? And this could be– you can interpret this in any way that you wish. 00:39:11 Richard An Yeah, this is a really interesting question. The question of how my identity interfaces with my music. In my art, particularly because no person's answer is quite the same, and I don't necessarily have this figured out either. So for a little bit of I guess for a little bit of context on me, I'm second generation Korean American, but I've never been to Korea and I never went to Korean school. My parents never really emphasize that part of my education. You could call it assimilation. You can call it whatever, but I think they valued other aspects of my growth than my explicit tie to Koreanness or, you know my specific identity as a Korean or Korean American, and because of that, I've always felt a little bit awkwardly distanced from that part of my identity, which is something that I will never be completely rid of. So in in a world and the field where whiteness is sort of the default part you know, particularly because you know, classical music does come from Europe, you know, for hundreds of years, like all of the development in this particular kind of music did happen in a place where everyone was white. So because of that background of where I come from and where my musical activity comes from, whiteness has been the default and still feels like it is. So me looking the way that I do as, an obvious not white person, as a person of color will always have a little bit of an outsider status to the thing. And with that comes the question of what are you bringing to classical music? What do you bring to the kind of music that you're creating? Like for example, the most I think the most well known East Asian composers are people like Toru Takemitsu or Tan Dun, people who will interface with their Asianness, in many different ways, but that often involves bringing, for example, a Japanese scale into your classical composition, or bringing a Japanese instrument into your classical composition. Those are, you know, examples of of of pieces by Toru Takemitsu, and other, you know, very successful. Asian American composers now may do similarly. Texu Kim is maybe someone who can also give insight into this, but nothing about me feels explicitly Korean, maybe besides the way that I look. And besides, the way that I grew up a little bit like I've never been to Korea. What right does that give me as a Korean, to for example, use a Korean instrument or use a Korean scale? I've never studied that music. I've never studied that culture. I in in some arguments I would be guilty of cultural appropriation, because I, you know, have not done the work to study and to properly represent. And for example, like Pansori, if I were to use that in any of my music. 00:42:46 Richard An But then the the the difficult question is well, then who does have the right? Does being Korean give me all the license that I need to incorporate aspects of my identity? And if I am not Korean, does that, does that bar my access to that kind of music forever? Another way of looking at this is, I've studied North Indian Classical Hindustani music for a while. I've played tabla and and studied that music at CalArts and I really, really love playing tabla. It's it doesn't make its way into my composition so much, but it is certainly a big part of my musicianship and who I am and, like, but am I barred from using ideas or aspects of that music and culture and my music because simply for the fact that I am not Indian? Many musicians would say no. Of course you've done your homework, you've done your research. You're doing due diligence. You're you're representing it properly. And many people who study this music will say music cannot go forward if it's not like the innervated and continued and studied by people like me who are not explicitly South Asian or Indian. That's an example of the flip side of this of me using or representing the music from a culture that I am not a part of, but again, am I really Korean? I've never been there. I wasn't born there. I speak the language conversationally. But this is an extremely long winded way of saying that I feel a tenuous connection to my Korean this my Korean American identity that hasn't been solved, that isn't solved and probably will never be completely solved. But I think that's exciting. I think that's an evolving aspect of my music and will continue to be that way as long as I continue to be involved in music and as as long as I continue to write. 00:45:05 Isabel Li Yeah, absolutely. That's a wonderful response. Actually. I was, as I was studying different types of world music and learning how people kind of borrow from different cultures. There is this always, this kind of question like ohh, like which types of musical elements from which cultures can I incorporate and obviously the aspects of personal identity definitely play into that a little bit. And part of my senior thesis in college was studying AAPI artists in classical music, and specifically that there are a lot of Asian-identifying musicians in the classical music world. But as you kind of mentioned earlier, I think classical music is very much still like grounded in whiteness and has this kind of air of elitism to it just because of its roots. How do you think this kind of identity intersects with the classical music world? And forgive me if you've already kind of talked about it before, but it's an interesting juxtaposition between like, for example, musicians who identify as AAPI or Asian in this kind of genre that is very– it's very associated with whiteness. Could you kind of talk about the dynamics of how these two aspects of like culture kind of interplay with one another? 00:46:26 Richard An Yeah, absolutely. So, you know, there are ways that I personally feel like I intersect with classical music with reference to my identity, and that also plays with the sort of cultural expectations, like there are stereotypes of Asian musicians, of Asian classical musicians. But there are not necessarily the same the same kind of stereotypes with white classical musicians. A very dominant like stereotype that you'll run into is the young Asian prodigy who practices 10 hours a day and may therefore be labeled as mechanical or unfeeling or, you know, are involved in in this a lot. So much so to the fact to the to the point where to excel an Asian American classical musician or as an Asian classical musician, in general, seems to always carry that stereotype. Like you know, Seong-Jin Cho's success as a pianist may not necessarily be attributed to his musicianship or his skill as a pianist. Because he is an Asian person, an Asian guy. Like how much of his success is because of the perceived tiger mom-ness that he might have existed under? How much of it is attributed to the same type of stereotypes that are labeled like that that label the five year old pianist on YouTube that that is clearly better than I am? Like some of these stereotypes help and some of these don't, but the I think it's undeniable that they exist in a way that doesn't in a way that doesn't carry for white people in the classical music sphere. And I think part of that is that classical music is still rooted in its Eurological identity. I think I'm using that correctly. That's an idea from George Lewis. Eurological versus Afrological. The context that I'm using Eurological right now is specifically in reference to George Lewis, who is a composer, trombonist, and musicologist who, I think coined the two terms to differentiate the roots of different styles of music, and you know, I haven't read enough to confidently say, but classical music is Eurological by example and like jazz would be Afrological by an example and the contexts in which they develop and exist and grew up are fundamentally different, which is what makes them different from each other. And again like this needs a little bit more research on my part. 00:49:23 Richard An Yeah, and because the classical music is so rooted in this thing, I don't believe that the stereotypes that exist for Asian classical musicians exist for white people. And I think that is something that will naturally dissipate with time, like after another 100 years of Asians, and, you know, people of color in, you know, every country in the world, with their continued involvement and innova otypes will disappear like this. You know, it may require certain concerted efforts from certain people, but I do believe that after a while these things will not exist. They'll sort of equalize right in the same way. That the divisions that we make between a Russian pianist and a French pianist and a German pianist, though you know people still do study those things like those aren't really dividing lines quite as strong as an Asian composer or an Indian composer might be. 00:50:27 Isabel Li Thank you for that perspective. I think it's, I think these are conversations that people don't kind of bring up as much in the classical music world and it's great that, you know, we're kind of thinking about these and probably possibly like opening some conversations up to our listeners hopefully. And so my next kind of pivot here is as you know with our current administration, Trump has canceled millions of dollars in National Endowment of the Arts grants, and it's been affecting arts organizations all over the nation. And I was kind of wondering, have you been affected by these cuts to arts programs and what kinds of advice would give upcoming musicians or composers in this era? 00:51:07 Richard An Yeah, that's a yeah, that's a big thing. And like, you know, changing day by day, right. So the Trump administration's effects on my life as a musician is simultaneously huge and also not really that much. So in one way these grant cuts have not affected my personal musical life because I haven't ever received a government grant for any of my arts making. So in one way like my life is the same, but in many, many, many other ways it has changed. Like I am involved with and I work with concert series and organizations and nonprofits that do rely on NEA funding and other government arts based funding. And if they have less money to fund their next season, that means certain projects have to be cut. That means certain musicians have to be paid less. That means certain programs have to change, especially if these funding cuts are aimed towards DEI or quote and quote, woke programming like that is, you know this that will by design disproportionately affect people of color in this field, which already you know, like is in a Eurocentric urological tradition like this is already something that people of color don't have a head start in if the funding cuts are aimed at certain types of programming that will disadvantage already disadvantaged groups of people, well then I don't know, that's even–we're starting even later than other people might be, and you know, like, if a musicians, if a person's reaction to this is despair, I think that's reasonable. I think that is an absolutely, like that's an appropriate reaction to what is fundamentally an attack on your voice as an artist. But I I have for as long as I can, you know, I have always worked under the impression that I will have to do the thing myself, and that's in the piece of advice that I give for a lot of people. You shouldn't necessarily wait for this ensemble to come pick you to play or or to to, you know, commission you to write a piece if you want to write the piece, you should do it and figure out how to put it on yourself. If you want to perform you know music by a certain composer, you should do it and then figure out how to do it yourself. That certainly comes from a place of privilege, like I can do this because I have enough work as a musician to be able to pay for the the passion projects it comes from a place of privilege, because I live in Los Angeles and the resources and musicians and other people who I would like to collaborate with live here, so you know, completely acknowledging and understanding that I I do believe that it's better to ask for forgiveness than to ask for permission. I think if you're a young musician and are feeling some despair about these funding cuts and you know the many, many, many other transgressions against humanity by this current administration. 00:54:38 Richard An I recommend you just go out and do it yourself. You find your people, you find your community, you pull favors, you work long nights and you do it and the reward will firstly be the good you're putting out into the world and then the the art you're making. But also this will be paid in kind by the community you're building, the musicians you're working with. And the the connections you make like you know I I have, I am currently conducting this interview from a studio space that I am renting out in Pasadena that I have built over the last two years that I do all of my rehearsals and my performances in, and that I, you know, host rehearsals and performances for other people, and this cannot happen and could not have happened without the goodwill and help and contribution from other people. When I say go out and do it yourself, I'm not saying that you as a human being are alone. I'm saying you don't need to wait for institutional approval or permission to go out and do these things. Get your friends and do them themselves. And my optimistic belief is that the support and the work will follow. 00:55:53 Isabel Li Richard, thank you so much for sharing your perspectives and your voice on this show today. And thank you to our many listeners of KPFA on tonight's episode of Obbligato on Apex Express. Which focuses on the AAPI community of the classical music world. There were some inspirational words on arts and arts making by Richard An musician and composer based in Los Angeles. 00:56:18 Isabel Li Please check our website kpfa.org to find out more about Richard An and his work as well as the state of the arts during this period of funding cuts. 00:56:29 Isabel Li We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world, your voices and your art are important. 00:56:41 Isabel Li APEX Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Jalena Keane-Lee, Miko Lee, Preeti Mangala Shekar and Swati Rayasam. Tonight's show was produced by Isabel Li. Have a great evening. The post APEX Express – 8.7.25 – Obbligato with Richard An appeared first on KPFA.

Communists stand for a united struggle of all workers, regardless of nationality, race, or culture, against the capitalist system. Yet, in academic circles today, this emphasis on our shared class interests and international solidarity is often met with the accusation of being “Eurocentric.” But is dialectical materialism really a simple product of “European subjectivity”? And most importantly, which ideas can actually help us win the fight against imperialism and racism? Comrade Koral makes the case for Marxism in this talk recorded at the Edmonton Communist Summer School, June 2025. Do you want to join the fight for Communism? https://www.marxist.ca/join

Support us on⁠⁠⁠⁠⁠⁠⁠⁠ Patreon⁠⁠⁠⁠⁠⁠⁠⁠! Keir Starmer announced earlier this year that he would reduce the aid budget to 0.3% of national income, from 0.5%, to fund increased spending on defence. But according to the government's own impact assessment, Labour's deep aid cuts will hit children's education and reduce spending in women's health. Why are women worse affected by aid cuts? Because crisis is sexist. When disaster strikes, women are 14 times more likely to die than men. In Gaza, UN analysis showed close to 70% of verified victims over a six-month period were women and children. But women are also underrepresented in decision-making about how aid is distributed, and so the solutions rarely reflect this. In this episode recorded 2023, Media Storm partnered with the International Rescue Committee to platform the lived experience of women in disaster zones— not just as victims, but as leaders of solutions. The IRC makes a conscious effort to place women at the centre of emergency responses, and has connected us with pioneers in Yemen, Pakistan and the world's biggest refugee camp: Kakuma, in Kenya. We also hear voices from Afghanistan, Nigeria and North American indigenous communities, who reveal how conflict and climate change disproportionately impact women and girls. We were then joined in the studio by actress and Amnesty ambassador Nazanin Boniadi, to look at how a male-dominated mainstream media and Eurocentric headlines can hide the realities facing women of the world. We look at the unique case of Iran, where women have revolted following the state murder of Mahsa Amini in 2022, and the press' crucial role in fighting for human rights for everybody. The episode is hosted and produced by Mathilda Mallinson (⁠⁠⁠⁠⁠⁠⁠@mathildamall⁠⁠⁠⁠⁠⁠⁠) and Helena Wadia (⁠⁠⁠⁠⁠⁠⁠@helenawadia⁠⁠⁠⁠⁠⁠⁠)  The music is by⁠⁠⁠⁠⁠⁠⁠ @soundofsamfire⁠⁠⁠⁠⁠⁠⁠ Follow us on⁠⁠⁠⁠⁠⁠⁠ Instagram⁠⁠⁠⁠⁠⁠⁠,⁠⁠⁠⁠⁠⁠⁠ Bluesky⁠⁠⁠⁠⁠⁠⁠, and⁠⁠⁠⁠⁠⁠⁠ TikTok ⁠ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today my guest is Darryn Gray, a learning designer, educator, and community builder based in New Zealand. Darryn brings a wealth of experience from his time as a classroom teacher and school leader, through to his current work in adult learning and professional development. In this episode, we explore Darryn's reflections on moving between education systems — from traditional Eurocentric approaches to learning, to those grounded in Māori worldviews offering rich possibilities for more relational, reciprocal and inclusive learning design. Darryn shares his belief that learning is not something done to people, but something created with them. We hear about his early experiences in a brand-new school, surrounded by technology, and how this sparked his lifelong interest in innovation, collaboration, and community. We also talk about his creation of Crackin' L&D Down Under, a grassroots community for learning professionals navigating change, technology, and the future of work. In our brief chat, we explore the role of AI, the power of facilitation over instruction, and why trust, humility, and conversation might be our most important tools in a time of constant change. This is a wide-ranging, reflective, and energising conversation. Darryn invites us to rethink what learning could be when we value the contributions that everyone brings. Links: https://www.darryngray.co.nz/ Crackin' LnD (Down Under) https://www.linkedin.com/groups/14462967/ https://www.linkedin.com/in/darryn-gray-acc-b6b73385/

Letting go is never simple—especially for Black people living in predominantly white spaces-- where we've been expected to carry more than our share and to do it quietly. But what if letting go is not abandonment, but liberation? What if it's an act of love? In this warm, reflective episode, Ama-Robin invites you into three immersive stories —slow-paced, story-driven, and deeply rooted in Black cultural truth. ✨ Story 1: Dreams Left at the Door A woman returns to the porch where she first dreamed big, and grieves the pieces of herself she left behind. ✨ Story 2: Auntie's Place A neighborhood elder helps visitors release the pain they've been told to forget, through ancestral ritual and quiet resistance. ✨ Story 3: Laying It Down at the Door One woman reflects on the sacred art of not carrying everything—not for everyone, and not forever. Each story reminds us that letting go isn't erasure—it's making room. It's how we reclaim our breath. And how we practice self-love that is not Eurocentric, individualistic, or shallow—but cultural, communal, ancestral, and real. This episode includes: Grief and rage naming rituals Ancestral practices of release Black psychology of emotional weight A Beyond the Story reflection on self-love and sacred release At the end, you'll hear a short breathing cue and reflection to help you ease into your own ritual of release.

There have been many (often false) claims against classical Christian education:It is too outdated and impractical for life in the modern world.It puts too low an emphasis on STEM (science, technology, engineering, and math) skills.It is too Eurocentric and leaves no room for appreciating other cultures.We respond to these criticisms and more today in our third episode with Michael Eatmon addressing Sherry Hayes' (Mom Delights) podcast episode, “Why I Reject Classical Education as a Homeschooling Mom of 15”Miss the first two episodes in this series? Play Part I in Episode 147Play Part II in Episode 149

In this episode, host Alex Batesmith sits down with Dr Rachel Killean and Dr Lauren Dempster to discuss their groundbreaking new book, Green Transitional Justice (Routledge, 2025). The conversation explores the urgent need to rethink transitional justice (TJ) in light of the environmental crises facing post-conflict societies. Dr Killean and Dr Dempster begin by explaining what drew them to the intersection of TJ and environmental harm. Their book emerges from a shared concern that traditional TJ mechanisms—designed to address human rights violations in post-conflict settings—have largely ignored the profound and lasting harms inflicted on Nature. They deliberately use the term “harms against Nature” to signal a shift away from anthropocentric language and to foreground the agency and value of the natural world. The book is structured around four major critiques of the TJ field. First, the authors argue that knowledge production in TJ is shaped by Eurocentric and neocolonial perspectives, often marginalising Indigenous and feminist epistemologies. They advocate for a more inclusive approach that recognises lived experience, interconnectivity, and the importance of naming environmental harm. Second, they critique the dominance of “anthropocentric legalism” in TJ—where legal frameworks and human rights discourses prioritise human victims and overlook ecological damage. This, they argue, limits the field's ability to respond meaningfully to environmental destruction. The third critique addresses how TJ mechanisms often leave structural inequalities intact. Concepts like “slow violence” and “crimes of the powerful” help illuminate how environmental harms are ongoing and systemic, not just episodic. The authors call for a shift toward transformative environmental justice, drawing on thinkers like Nancy Fraser to propose a model that includes redistribution, recognition, and representation. Finally, the book challenges the neoliberal underpinnings of TJ, particularly its alignment with economic growth and extractivism. Instead, Killean and Dempster explore alternative worldviews—buen vivir, Ubuntu, and ecological swaraj—that offer more holistic, communitarian approaches to justice. In closing, the authors outline six guiding principles for “greening” TJ, including decolonising justice, recognising non-human victimhood, and rejecting neoliberal inevitability. While acknowledging the challenges of such a radical reimagining, they remain hopeful that the field can evolve to meet the intertwined needs of people and planet. Alex Batesmith is an Associate Professor in Legal Professions in the School of Law at the University of Leeds, and a former barrister and UN war crimes prosecutor. His University of Leeds profile page can be found here Bluesky: @batesmith.bsky.social LinkedIn: https://www.linkedin.com/in/batesmith/ His recent publications include: ‘“Closeted” Cause Lawyers in Authoritarian Cambodia' (with Kieran McEvoy) Law and Society Review (2025) 1-33 DOI:10.1017/lsr.2025.29 (open access) “Cambodia and the progressivist ‘imaginary': The limitations of international(ised) criminal tribunals as mechanisms for implementing human rights” in Louisa Ashley and Nicolette Butler (eds), The Incoherence of Human Rights in International Law: Absence, Emergence and Limitations (Routledge, 2024 ISBN13: 978-1-032638-03-4) “‘Poetic Justice Products': International Justice, Victim Counter-Aesthetics, and the Spectre of the Show Trial” in Christine Schwöbel-Patel and Rob Knox (eds) Aesthetics and Counter-Aesthetics of International Justice (Counterpress, 2024 ISBN 978-1-910761-17-5) "Lawyers who want to make the world a better place – Scheingold and Sarat's Something to Believe In: Politics, Professionalism, and Cause Lawyering" in D. Newman (ed.) Leading Works on the Legal Profession (Routledge, July 2023), ISBN 978-1-032182-80-3) Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode, host Alex Batesmith sits down with Dr Rachel Killean and Dr Lauren Dempster to discuss their groundbreaking new book, Green Transitional Justice (Routledge, 2025). The conversation explores the urgent need to rethink transitional justice (TJ) in light of the environmental crises facing post-conflict societies. Dr Killean and Dr Dempster begin by explaining what drew them to the intersection of TJ and environmental harm. Their book emerges from a shared concern that traditional TJ mechanisms—designed to address human rights violations in post-conflict settings—have largely ignored the profound and lasting harms inflicted on Nature. They deliberately use the term “harms against Nature” to signal a shift away from anthropocentric language and to foreground the agency and value of the natural world. The book is structured around four major critiques of the TJ field. First, the authors argue that knowledge production in TJ is shaped by Eurocentric and neocolonial perspectives, often marginalising Indigenous and feminist epistemologies. They advocate for a more inclusive approach that recognises lived experience, interconnectivity, and the importance of naming environmental harm. Second, they critique the dominance of “anthropocentric legalism” in TJ—where legal frameworks and human rights discourses prioritise human victims and overlook ecological damage. This, they argue, limits the field's ability to respond meaningfully to environmental destruction. The third critique addresses how TJ mechanisms often leave structural inequalities intact. Concepts like “slow violence” and “crimes of the powerful” help illuminate how environmental harms are ongoing and systemic, not just episodic. The authors call for a shift toward transformative environmental justice, drawing on thinkers like Nancy Fraser to propose a model that includes redistribution, recognition, and representation. Finally, the book challenges the neoliberal underpinnings of TJ, particularly its alignment with economic growth and extractivism. Instead, Killean and Dempster explore alternative worldviews—buen vivir, Ubuntu, and ecological swaraj—that offer more holistic, communitarian approaches to justice. In closing, the authors outline six guiding principles for “greening” TJ, including decolonising justice, recognising non-human victimhood, and rejecting neoliberal inevitability. While acknowledging the challenges of such a radical reimagining, they remain hopeful that the field can evolve to meet the intertwined needs of people and planet. Alex Batesmith is an Associate Professor in Legal Professions in the School of Law at the University of Leeds, and a former barrister and UN war crimes prosecutor. His University of Leeds profile page can be found here Bluesky: @batesmith.bsky.social LinkedIn: https://www.linkedin.com/in/batesmith/ His recent publications include: ‘“Closeted” Cause Lawyers in Authoritarian Cambodia' (with Kieran McEvoy) Law and Society Review (2025) 1-33 DOI:10.1017/lsr.2025.29 (open access) “Cambodia and the progressivist ‘imaginary': The limitations of international(ised) criminal tribunals as mechanisms for implementing human rights” in Louisa Ashley and Nicolette Butler (eds), The Incoherence of Human Rights in International Law: Absence, Emergence and Limitations (Routledge, 2024 ISBN13: 978-1-032638-03-4) “‘Poetic Justice Products': International Justice, Victim Counter-Aesthetics, and the Spectre of the Show Trial” in Christine Schwöbel-Patel and Rob Knox (eds) Aesthetics and Counter-Aesthetics of International Justice (Counterpress, 2024 ISBN 978-1-910761-17-5) "Lawyers who want to make the world a better place – Scheingold and Sarat's Something to Believe In: Politics, Professionalism, and Cause Lawyering" in D. Newman (ed.) Leading Works on the Legal Profession (Routledge, July 2023), ISBN 978-1-032182-80-3) Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/environmental-studies

In this episode, host Alex Batesmith sits down with Dr Rachel Killean and Dr Lauren Dempster to discuss their groundbreaking new book, Green Transitional Justice (Routledge, 2025). The conversation explores the urgent need to rethink transitional justice (TJ) in light of the environmental crises facing post-conflict societies. Dr Killean and Dr Dempster begin by explaining what drew them to the intersection of TJ and environmental harm. Their book emerges from a shared concern that traditional TJ mechanisms—designed to address human rights violations in post-conflict settings—have largely ignored the profound and lasting harms inflicted on Nature. They deliberately use the term “harms against Nature” to signal a shift away from anthropocentric language and to foreground the agency and value of the natural world. The book is structured around four major critiques of the TJ field. First, the authors argue that knowledge production in TJ is shaped by Eurocentric and neocolonial perspectives, often marginalising Indigenous and feminist epistemologies. They advocate for a more inclusive approach that recognises lived experience, interconnectivity, and the importance of naming environmental harm. Second, they critique the dominance of “anthropocentric legalism” in TJ—where legal frameworks and human rights discourses prioritise human victims and overlook ecological damage. This, they argue, limits the field's ability to respond meaningfully to environmental destruction. The third critique addresses how TJ mechanisms often leave structural inequalities intact. Concepts like “slow violence” and “crimes of the powerful” help illuminate how environmental harms are ongoing and systemic, not just episodic. The authors call for a shift toward transformative environmental justice, drawing on thinkers like Nancy Fraser to propose a model that includes redistribution, recognition, and representation. Finally, the book challenges the neoliberal underpinnings of TJ, particularly its alignment with economic growth and extractivism. Instead, Killean and Dempster explore alternative worldviews—buen vivir, Ubuntu, and ecological swaraj—that offer more holistic, communitarian approaches to justice. In closing, the authors outline six guiding principles for “greening” TJ, including decolonising justice, recognising non-human victimhood, and rejecting neoliberal inevitability. While acknowledging the challenges of such a radical reimagining, they remain hopeful that the field can evolve to meet the intertwined needs of people and planet. Alex Batesmith is an Associate Professor in Legal Professions in the School of Law at the University of Leeds, and a former barrister and UN war crimes prosecutor. His University of Leeds profile page can be found here Bluesky: @batesmith.bsky.social LinkedIn: https://www.linkedin.com/in/batesmith/ His recent publications include: ‘“Closeted” Cause Lawyers in Authoritarian Cambodia' (with Kieran McEvoy) Law and Society Review (2025) 1-33 DOI:10.1017/lsr.2025.29 (open access) “Cambodia and the progressivist ‘imaginary': The limitations of international(ised) criminal tribunals as mechanisms for implementing human rights” in Louisa Ashley and Nicolette Butler (eds), The Incoherence of Human Rights in International Law: Absence, Emergence and Limitations (Routledge, 2024 ISBN13: 978-1-032638-03-4) “‘Poetic Justice Products': International Justice, Victim Counter-Aesthetics, and the Spectre of the Show Trial” in Christine Schwöbel-Patel and Rob Knox (eds) Aesthetics and Counter-Aesthetics of International Justice (Counterpress, 2024 ISBN 978-1-910761-17-5) "Lawyers who want to make the world a better place – Scheingold and Sarat's Something to Believe In: Politics, Professionalism, and Cause Lawyering" in D. Newman (ed.) Leading Works on the Legal Profession (Routledge, July 2023), ISBN 978-1-032182-80-3) Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/law

In this episode, host Alex Batesmith sits down with Dr Rachel Killean and Dr Lauren Dempster to discuss their groundbreaking new book, Green Transitional Justice (Routledge, 2025). The conversation explores the urgent need to rethink transitional justice (TJ) in light of the environmental crises facing post-conflict societies. Dr Killean and Dr Dempster begin by explaining what drew them to the intersection of TJ and environmental harm. Their book emerges from a shared concern that traditional TJ mechanisms—designed to address human rights violations in post-conflict settings—have largely ignored the profound and lasting harms inflicted on Nature. They deliberately use the term “harms against Nature” to signal a shift away from anthropocentric language and to foreground the agency and value of the natural world. The book is structured around four major critiques of the TJ field. First, the authors argue that knowledge production in TJ is shaped by Eurocentric and neocolonial perspectives, often marginalising Indigenous and feminist epistemologies. They advocate for a more inclusive approach that recognises lived experience, interconnectivity, and the importance of naming environmental harm. Second, they critique the dominance of “anthropocentric legalism” in TJ—where legal frameworks and human rights discourses prioritise human victims and overlook ecological damage. This, they argue, limits the field's ability to respond meaningfully to environmental destruction. The third critique addresses how TJ mechanisms often leave structural inequalities intact. Concepts like “slow violence” and “crimes of the powerful” help illuminate how environmental harms are ongoing and systemic, not just episodic. The authors call for a shift toward transformative environmental justice, drawing on thinkers like Nancy Fraser to propose a model that includes redistribution, recognition, and representation. Finally, the book challenges the neoliberal underpinnings of TJ, particularly its alignment with economic growth and extractivism. Instead, Killean and Dempster explore alternative worldviews—buen vivir, Ubuntu, and ecological swaraj—that offer more holistic, communitarian approaches to justice. In closing, the authors outline six guiding principles for “greening” TJ, including decolonising justice, recognising non-human victimhood, and rejecting neoliberal inevitability. While acknowledging the challenges of such a radical reimagining, they remain hopeful that the field can evolve to meet the intertwined needs of people and planet. Alex Batesmith is an Associate Professor in Legal Professions in the School of Law at the University of Leeds, and a former barrister and UN war crimes prosecutor. His University of Leeds profile page can be found here Bluesky: @batesmith.bsky.social LinkedIn: https://www.linkedin.com/in/batesmith/ His recent publications include: ‘“Closeted” Cause Lawyers in Authoritarian Cambodia' (with Kieran McEvoy) Law and Society Review (2025) 1-33 DOI:10.1017/lsr.2025.29 (open access) “Cambodia and the progressivist ‘imaginary': The limitations of international(ised) criminal tribunals as mechanisms for implementing human rights” in Louisa Ashley and Nicolette Butler (eds), The Incoherence of Human Rights in International Law: Absence, Emergence and Limitations (Routledge, 2024 ISBN13: 978-1-032638-03-4) “‘Poetic Justice Products': International Justice, Victim Counter-Aesthetics, and the Spectre of the Show Trial” in Christine Schwöbel-Patel and Rob Knox (eds) Aesthetics and Counter-Aesthetics of International Justice (Counterpress, 2024 ISBN 978-1-910761-17-5) "Lawyers who want to make the world a better place – Scheingold and Sarat's Something to Believe In: Politics, Professionalism, and Cause Lawyering" in D. Newman (ed.) Leading Works on the Legal Profession (Routledge, July 2023), ISBN 978-1-032182-80-3) Learn more about your ad choices. Visit megaphone.fm/adchoices

What if your health risks weren't just about what you eat or how you move—but about the history your ancestors survived?As a South Asian woman and gynecologist, I've long seen the ripple effects of misunderstood metabolic conditions, especially in women who don't “look” unhealthy. In this episode, I'm joined by Dr. Mubin Syed—also known as DesiDoc on Instagram—whose new book Healing From Our History connects the dots between colonial-era famines and today's alarming rates of disease in South Asians. His personal health scare led to years of research, and the result is a compelling case for why our bodies still carry the burdens of our history.We also unpack what this means for PCOS, early menopause, and the misdiagnoses that come from trying to fit diverse bodies into Eurocentric templates. If you're South Asian, female, or both, this conversation will likely shift how you understand your symptoms—and how urgently we need better, more specific care.It's not all gloom. Mubin and I dive into actionable strategies, from rethinking white rice and walking more to using CGMs and reconsidering hormone therapy earlier. It's knowledge, not fear, that lets us take the reins on our future health. His book, Healing From Our History, is a must-read if you want to go deeper into the research, the history, and the path forward for South Asian health.HighlightsThe real story behind Mubin's “healthy” heart attack.What to test for now especially if you've been dismissed before.How British colonialism and famine still shape South Asian metabolism.Why lean South Asian women may still face PCOS and early menopause.Epigenetics explained: your genes didn't change, but their expression did.If you're a healthcare provider or part of the South Asian community, I hope this episode brought clarity and context to the health challenges we often face. Share it with someone who might benefit whether that's a colleague, a patient, or a family member. And don't forget to subscribe, leave a comment, and like the show. Your support helps amplify conversations that matter.Dr. Syed's Bio:Mubin Syed, MD, is a nationally recognized physician with almost 30 years experience, specializing in endovascular therapy. He is also a health historian, a medtech entrepreneur, anda medical products inventor holding 28 patents. He is the author of a medical guide on pain treatment and two works focusing on the modern South Asian health crisis. He has been a TEDx speaker, and was featured in the “Healthy Minds, Healthy Bodies” PBS documentary, and in CNN International/The Guardian and HuffPostUK.Get in Touch with Dr. Syed:WebsiteInstagram

In this episode of the Review of Democracy podcast, Alexandra Medzibrodszky talks to Leigh Jenco and Paulina Ochoa Espejo—two of the three co-authors of the new textbook Political Theory: A Global and Comparative Introduction, published by SAGE. Co-authored with Murad Idris, this groundbreaking volume reimagines how political theory is taught and understood by moving beyond a Eurocentric focus and embracing a truly global and comparative framework. Rather than organizing content around geographical regions or national traditions, the book takes a thematic approach—exploring war, political action, development, ritual, and other enduring political questions through a rich array of sources from across cultures and time periods. In the conversation, we discuss what it means to think politically beyond the Western canon, how to work with texts that are often marginalized or excluded from mainstream syllabi, and what challenges arise when dealing with disciplinary boundaries. We also reflect on the pedagogical value of open-ended inquiry and the democratic potential of teaching political theory as a space for students to ask the questions that matter most to them. As Leigh and Paulina explain, the aim is not to simply add more voices, but to shift the structure of the conversation itself—to replace a single sun with a galaxy of perspectives. Ultimately, the book opens up new ways of thinking about politics and democracy itself—its possibilities, its limits, and the many ways it has been imagined around the world.

This panel discusses the "Localized History Project," which addresses the lack of Asian American, Native Hawaiian, and Pacific Islander (AANHPI) history in New York State's Eurocentric, test-driven curriculum. The Project advocates for both a "content and pedagogical revolution" to shift who is perceived as a historian and knowledge creator. The Project is youth-driven, centering young people through Youth Action Boards in various regions of New York, who develop resources for an archive and classroom use. Utilizing oral history, semi-structured interviews, and surveys, the project explores how the absence of AANHPI history impacts youth and aims to create a "living history" that challenges traditional, colonial frameworks of history education. The ultimate goal is to provide a community archive of localized histories to fill educational gaps and inspire revolutionary change.Panel was part of the Association for Asian American Studies 2025 Annual Conference

In the finale of Lecture 6, we wrap up the reflections on Re-Imagining the Caribbean - Understanding the Caribbean – Beyond the Myths and Into the Margins:...We pick up from Point 33. DIASPORAS AND DISPLACEMENT• African Diaspora: peoples of African descent living outside Africa.• Caribbean Diaspora: particularly Caribbean people of African descent scattered across the globe.• These diasporas still carry the black position and face discrimination, suspicion, and containment.“They are aliens with sharp teeth—feared not for their failure but for their potential.”________________________________________4. DARK GHETTOES & INTERNALIZED MALADY• Kenneth Clark's “Dark Ghettos”:o Exist physically and psychologically.o Not just urban slums but socio-economic prisons.o Seen in Philly, Kingston, Port of Spain—spaces where people are victims of fear, guilt, and greed.o Structural conditions: overcrowding, poverty, crime.o Psychological toll: despair, self-hate, compensatory bravado.________________________________________5. POSTCOLONIALISM AND THE VEIL THAT LINGERS• Postcolonialism ≠ Post-colonyo It's not the end of colonization, but the lingering effects—economic, cultural, psychological.o Fanon: both white and Black are trapped—one in superiority, the other in inferiority.o The need for tabula rasa—to begin anew.• Revolutions and the Paradox of Independenceo Haiti and Cuba led true revolutions—but remained outside international community comfort zones.o Their struggle reflects the cost of radical freedom.________________________________________6. CENTER VS. PERIPHERY – WHOSE CULTURE MATTERS?• Homi Bhabha – “Location of Culture”:o The periphery: marginal voices, rejected traditions.o The center: dominant culture, normalized Eurocentric standards.• Rastas, Revivalists, African spirituality = periphery.• Skin lightening, accent training, rejection of roots = symptom of internalized colonialism.________________________________________HANDOUT: Tracing Caribbean History – Before Columbus• Challenge the narrative: Begin with victory, not defeat.• Explore:o Ivan Van Sertima – They Came Before Columbus.o Ancient African navigators, civilizations that predate European contact.________________________________________DISCUSSION & MEDIA:• Video Segment: Ivan Van Sertima• Handout Discussion: Follow timeline through slavery, indenture, resistance, revolution.This is Episode 6 of the Caribbean Thought Lecture Series Summer 2025 on The Neoliberal Round by Renaldo McKenzieRev. Renaldo McKenzie is a Professor at Jamaica Theological Seminary and President of The Neoliberal Corporation.https://theneoliberal.com

Artificial Intelligence has rapidly integrated into our daily lives, becoming an essential tool across healthcare, transportation, and communication. However, a critical question emerges: is AI inherently biased? This question forms the cornerstone of a fascinating conversation with Christian Ortiz, founder of Justice AI – the world's first ethical AI system specifically designed to address and correct biases rooted in historical inequities.The fundamental issue with AI, as Ortiz explains, stems from the data it processes. AI systems learn from vast datasets that predominantly contain Eurocentric ideologies and perspectives. As a decolonial technologist, he has observed how these systems perpetuate biases originating from settler colonialism and structures of discrimination that have been systematically embedded in Western societies.Ortiz argues that these biases have real-world implications. He shares a powerful example from his work with a dermatologist in Denver who, realized his medical forms and diagnostic approaches were failing patients of color. When Justice AI analysed the intake forms, it revealed they were based entirely on Eurocentric diets and cultural assumptions, missing crucial information needed to properly diagnose and treat patients from different cultural backgrounds. The development of Justice AI involved collaboration with over 560 marginalised individuals from diverse backgrounds around the world, each bringing approximately 30 years of knowledge to the dataset. This collective expertise forms the foundation of an AI system designed to counterbalance the biases present in mainstream AI platforms like ChatGPT.Listen now, to find out more.https://justiceai.co/It's not possible to reply to “fan mail” so please contact me through my website angelawalkerreports.com Support the showhttps://www.angelawalkerreports.com/

Kevin Anderson's The Late Marx's Revolutionary Roads: Colonialism, Gender, and Indigenous Communism (Verso, 2025) encourages to look again at the intellectual and political work of a figure some may assume has been exhausted: Karl Marx. Following on from his earlier landmark study Marx at the Margins: On Nationalism, Ethnicity and Non-Western Societies (University of Chicago Press, 2016), this volume turns specifically to the ‘late Marx'. In this period (1869-82), Marx spent much of his time engrossed in the study of colonialism, agrarian Russia and India, Indigenous societies, and gender among many other less known topics of his interest. His notes, especially what come to be known as The Ethnological Notebooks, along with letters, essays and a scattering of published texts remain only poorly known (and in some cases unpublished or not yet fully translated into English) and form the backbone of Anderson's study. They evidence a change of perspective, away from Eurocentric worldviews or unilinear theories of development. Anderson shows how the late Marx sees a wider revolution that included the European proletariat being touched off by revolts by oppressed ethno-racial groups, peasant communes, and Indigenous communist groups, in many of which women held great social power. In our discussion, we highlight some of the key themes in the late Marx, bringing out the ways in which Marx is making connections across his writings, how colonial subjects in Ireland and India share commonalities and what can be seen when we look at communal social forms in Russia and among Native Americans. We also discuss why Marx can be seen as a decolonial thinker, consider what he might have produced had he lived longer and the ways in which the late Marx can be presented to students to complement his central themes of class and capitalism. Your host, Matt Dawson is Professor of Sociology at the University of Glasgow and the author of G.D.H. Cole and British Sociology: A Study in Semi-Alienation (Palgrave Macmillan, 2024), along with other texts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Kevin Anderson's The Late Marx's Revolutionary Roads: Colonialism, Gender, and Indigenous Communism (Verso, 2025) encourages to look again at the intellectual and political work of a figure some may assume has been exhausted: Karl Marx. Following on from his earlier landmark study Marx at the Margins: On Nationalism, Ethnicity and Non-Western Societies (University of Chicago Press, 2016), this volume turns specifically to the ‘late Marx'. In this period (1869-82), Marx spent much of his time engrossed in the study of colonialism, agrarian Russia and India, Indigenous societies, and gender among many other less known topics of his interest. His notes, especially what come to be known as The Ethnological Notebooks, along with letters, essays and a scattering of published texts remain only poorly known (and in some cases unpublished or not yet fully translated into English) and form the backbone of Anderson's study. They evidence a change of perspective, away from Eurocentric worldviews or unilinear theories of development. Anderson shows how the late Marx sees a wider revolution that included the European proletariat being touched off by revolts by oppressed ethno-racial groups, peasant communes, and Indigenous communist groups, in many of which women held great social power. In our discussion, we highlight some of the key themes in the late Marx, bringing out the ways in which Marx is making connections across his writings, how colonial subjects in Ireland and India share commonalities and what can be seen when we look at communal social forms in Russia and among Native Americans. We also discuss why Marx can be seen as a decolonial thinker, consider what he might have produced had he lived longer and the ways in which the late Marx can be presented to students to complement his central themes of class and capitalism. Your host, Matt Dawson is Professor of Sociology at the University of Glasgow and the author of G.D.H. Cole and British Sociology: A Study in Semi-Alienation (Palgrave Macmillan, 2024), along with other texts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Kevin Anderson's The Late Marx's Revolutionary Roads: Colonialism, Gender, and Indigenous Communism (Verso, 2025) encourages to look again at the intellectual and political work of a figure some may assume has been exhausted: Karl Marx. Following on from his earlier landmark study Marx at the Margins: On Nationalism, Ethnicity and Non-Western Societies (University of Chicago Press, 2016), this volume turns specifically to the ‘late Marx'. In this period (1869-82), Marx spent much of his time engrossed in the study of colonialism, agrarian Russia and India, Indigenous societies, and gender among many other less known topics of his interest. His notes, especially what come to be known as The Ethnological Notebooks, along with letters, essays and a scattering of published texts remain only poorly known (and in some cases unpublished or not yet fully translated into English) and form the backbone of Anderson's study. They evidence a change of perspective, away from Eurocentric worldviews or unilinear theories of development. Anderson shows how the late Marx sees a wider revolution that included the European proletariat being touched off by revolts by oppressed ethno-racial groups, peasant communes, and Indigenous communist groups, in many of which women held great social power. In our discussion, we highlight some of the key themes in the late Marx, bringing out the ways in which Marx is making connections across his writings, how colonial subjects in Ireland and India share commonalities and what can be seen when we look at communal social forms in Russia and among Native Americans. We also discuss why Marx can be seen as a decolonial thinker, consider what he might have produced had he lived longer and the ways in which the late Marx can be presented to students to complement his central themes of class and capitalism. Your host, Matt Dawson is Professor of Sociology at the University of Glasgow and the author of G.D.H. Cole and British Sociology: A Study in Semi-Alienation (Palgrave Macmillan, 2024), along with other texts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/russian-studies

Kevin Anderson's The Late Marx's Revolutionary Roads: Colonialism, Gender, and Indigenous Communism (Verso, 2025) encourages to look again at the intellectual and political work of a figure some may assume has been exhausted: Karl Marx. Following on from his earlier landmark study Marx at the Margins: On Nationalism, Ethnicity and Non-Western Societies (University of Chicago Press, 2016), this volume turns specifically to the ‘late Marx'. In this period (1869-82), Marx spent much of his time engrossed in the study of colonialism, agrarian Russia and India, Indigenous societies, and gender among many other less known topics of his interest. His notes, especially what come to be known as The Ethnological Notebooks, along with letters, essays and a scattering of published texts remain only poorly known (and in some cases unpublished or not yet fully translated into English) and form the backbone of Anderson's study. They evidence a change of perspective, away from Eurocentric worldviews or unilinear theories of development. Anderson shows how the late Marx sees a wider revolution that included the European proletariat being touched off by revolts by oppressed ethno-racial groups, peasant communes, and Indigenous communist groups, in many of which women held great social power. In our discussion, we highlight some of the key themes in the late Marx, bringing out the ways in which Marx is making connections across his writings, how colonial subjects in Ireland and India share commonalities and what can be seen when we look at communal social forms in Russia and among Native Americans. We also discuss why Marx can be seen as a decolonial thinker, consider what he might have produced had he lived longer and the ways in which the late Marx can be presented to students to complement his central themes of class and capitalism. Your host, Matt Dawson is Professor of Sociology at the University of Glasgow and the author of G.D.H. Cole and British Sociology: A Study in Semi-Alienation (Palgrave Macmillan, 2024), along with other texts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/politics-and-polemics

Kevin Anderson's The Late Marx's Revolutionary Roads: Colonialism, Gender, and Indigenous Communism (Verso, 2025) encourages to look again at the intellectual and political work of a figure some may assume has been exhausted: Karl Marx. Following on from his earlier landmark study Marx at the Margins: On Nationalism, Ethnicity and Non-Western Societies (University of Chicago Press, 2016), this volume turns specifically to the ‘late Marx'. In this period (1869-82), Marx spent much of his time engrossed in the study of colonialism, agrarian Russia and India, Indigenous societies, and gender among many other less known topics of his interest. His notes, especially what come to be known as The Ethnological Notebooks, along with letters, essays and a scattering of published texts remain only poorly known (and in some cases unpublished or not yet fully translated into English) and form the backbone of Anderson's study. They evidence a change of perspective, away from Eurocentric worldviews or unilinear theories of development. Anderson shows how the late Marx sees a wider revolution that included the European proletariat being touched off by revolts by oppressed ethno-racial groups, peasant communes, and Indigenous communist groups, in many of which women held great social power. In our discussion, we highlight some of the key themes in the late Marx, bringing out the ways in which Marx is making connections across his writings, how colonial subjects in Ireland and India share commonalities and what can be seen when we look at communal social forms in Russia and among Native Americans. We also discuss why Marx can be seen as a decolonial thinker, consider what he might have produced had he lived longer and the ways in which the late Marx can be presented to students to complement his central themes of class and capitalism. Your host, Matt Dawson is Professor of Sociology at the University of Glasgow and the author of G.D.H. Cole and British Sociology: A Study in Semi-Alienation (Palgrave Macmillan, 2024), along with other texts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Kevin Anderson's The Late Marx's Revolutionary Roads: Colonialism, Gender, and Indigenous Communism (Verso, 2025) encourages to look again at the intellectual and political work of a figure some may assume has been exhausted: Karl Marx. Following on from his earlier landmark study Marx at the Margins: On Nationalism, Ethnicity and Non-Western Societies (University of Chicago Press, 2016), this volume turns specifically to the ‘late Marx'. In this period (1869-82), Marx spent much of his time engrossed in the study of colonialism, agrarian Russia and India, Indigenous societies, and gender among many other less known topics of his interest. His notes, especially what come to be known as The Ethnological Notebooks, along with letters, essays and a scattering of published texts remain only poorly known (and in some cases unpublished or not yet fully translated into English) and form the backbone of Anderson's study. They evidence a change of perspective, away from Eurocentric worldviews or unilinear theories of development. Anderson shows how the late Marx sees a wider revolution that included the European proletariat being touched off by revolts by oppressed ethno-racial groups, peasant communes, and Indigenous communist groups, in many of which women held great social power. In our discussion, we highlight some of the key themes in the late Marx, bringing out the ways in which Marx is making connections across his writings, how colonial subjects in Ireland and India share commonalities and what can be seen when we look at communal social forms in Russia and among Native Americans. We also discuss why Marx can be seen as a decolonial thinker, consider what he might have produced had he lived longer and the ways in which the late Marx can be presented to students to complement his central themes of class and capitalism. Your host, Matt Dawson is Professor of Sociology at the University of Glasgow and the author of G.D.H. Cole and British Sociology: A Study in Semi-Alienation (Palgrave Macmillan, 2024), along with other texts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

Kevin Anderson's The Late Marx's Revolutionary Roads: Colonialism, Gender, and Indigenous Communism (Verso, 2025) encourages to look again at the intellectual and political work of a figure some may assume has been exhausted: Karl Marx. Following on from his earlier landmark study Marx at the Margins: On Nationalism, Ethnicity and Non-Western Societies (University of Chicago Press, 2016), this volume turns specifically to the ‘late Marx'. In this period (1869-82), Marx spent much of his time engrossed in the study of colonialism, agrarian Russia and India, Indigenous societies, and gender among many other less known topics of his interest. His notes, especially what come to be known as The Ethnological Notebooks, along with letters, essays and a scattering of published texts remain only poorly known (and in some cases unpublished or not yet fully translated into English) and form the backbone of Anderson's study. They evidence a change of perspective, away from Eurocentric worldviews or unilinear theories of development. Anderson shows how the late Marx sees a wider revolution that included the European proletariat being touched off by revolts by oppressed ethno-racial groups, peasant communes, and Indigenous communist groups, in many of which women held great social power. In our discussion, we highlight some of the key themes in the late Marx, bringing out the ways in which Marx is making connections across his writings, how colonial subjects in Ireland and India share commonalities and what can be seen when we look at communal social forms in Russia and among Native Americans. We also discuss why Marx can be seen as a decolonial thinker, consider what he might have produced had he lived longer and the ways in which the late Marx can be presented to students to complement his central themes of class and capitalism. Your host, Matt Dawson is Professor of Sociology at the University of Glasgow and the author of G.D.H. Cole and British Sociology: A Study in Semi-Alienation (Palgrave Macmillan, 2024), along with other texts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

“Good White People EXPOSED

Is being depressed a sign of kufr? Is my anxiety due to sinning? In this episode of Thinking Islam, we explore how Islamic approaches towards mental health challenge traditional stigmas and modern psychological frameworks with Dr Zoheir Esmail. From examining the concepts of qalb, nafs, and ruh to investigating whether depression could indicate spiritual disconnection, this conversation unpacks the complex relationship between faith, Eurocentric reason, and mental wellness.We delve into the history of Islamic approaches towards mental wellness, their developments, from early medieval scholars to contemporary applications in modern therapeutic practice. The conversation tackles the stigma surrounding mental health in Muslim communities, examining fears around hellfire and spiritual disconnection, whilst investigating the fascinating realm of occult sciences, jinn, and evil eye, questioning whether these should be taken seriously as therapeutic tools or understood as sophisticated placebo mechanisms that nonetheless offer genuine healing benefits. Dr Esmail reveals how Islamic psychology creates mental health wellbeing through understanding the human self as naturally anxious by creation, whilst offering spiritually integrated therapy that addresses religiosity and faith to achieve holistic healing that secular approaches often overlook. Dr Zoheir Ali Esmail is a Lecturer in Islamic Mysticism and Head of the Department of Mysticism and Spirituality. After qualifying as a chartered accountant, he pursued full-time studies in the seminaries of Syria and Qum for 12 years, earning a doctorate focusing on the philosophy and mysticism of Mullā Ṣadrā from the University of Exeter. His research spans mysticism, spiritual psychology, transcendental philosophy, and Quranic exegesis, bringing academic rigour and traditional Islamic scholarship to contemporary discussions on mental health and spirituality.

Send us a textThis week,Your favourite trio — Masterful 27, Ian Waterfall and PoGoMiloUK return with a fully loaded show filled with raid reactions, breaking news, listener interactions, and a European twist!We kick things off with our reactions to Shadow Regigigas Raid Day and YOUR comments from X (Twitter) — did this surprise drop live up to the hype, or fall flat like a Normal-type without STAB?The news heats up with the announcement of the Jersey City GOFest Premier Access Add-On. Is it worth the real world money? We dive into the details and reveal the results of our Incensed! Poll, asking YOU if you're buying in.Then it's time for some chaotic fun as Milo hosts the 'E' is for… Pub Quiz — expect dodgy trivia, questionable guesses, and a lot of laughs.In News Part 2, we explore the brand-new RSVP Planner feature, designed to streamline your raid experience — but does it actually help?We listen to this week's WhatsApp message!Then in News Part 3, the legends rise with the reveal of Crowned Zacian & Zamazenta and the arrival of Substitute & Shield Energy. How will this shift the PvP and PvE meta?Before we wrap thing up though we discuss the keys we've all been receiving in the mail, and what they could be for... Could it be for the #PokemonGORoadTrip , we dive into the details of the Eurocentric tour Pokémon GO will be doing in July & August this year!We wrap things up with the always-popular #ShiniesOfTheWeek.We'd like to say a massive thank you to all of our Patrons for your support, with credited Patrons from featured tiers below:#GOLDJB, Kerry & Zachary, Barside2, Mandy Croft, Mr Mossom, Muftii.#SILVERKLXVI, Dell Hazard, Spindiana, Lori Beck, Steve In Norway, CeeCeeismad, Macfloof, Saul Haberfield, Lizzie George, Sander Van Den Dreiesche, Neonnet, Ellen Rushton, James Alexander, Northern Soph, Tom Cattle, Charlie Todd, Robert Wilson, MissSummerOf69, Malcolm Grinter, Jordi Castel, Thehotweasel, shinyikeamom, TonyOfPride.Support the showFind us on Niantic Campfire: CLICK MESend us a voice message on WhatsApp: +44 7592695696Email us: contact@incensedpodcast.comIf you'd like to buy merch, you can find us by clicking HERE for U.K. store, HERE for U.S. Oceana store or copy this link: https://incensedpodcast.myspreadshop.net/ for U.K. store or this link: https://incensed-podcast.myspreadshop.com/ for U.S. Oceana store!Hosted By: PoGoMiloUK, Ian Waterfall & Masterful 27. Produced & Edited By: Ian Waterfall & PoGoMiloUK. Administrators: HermesNinja & IAMP1RU5.Pokémon is Copyright Gamefreak, Nintendo and The Pokémon Company 2001-2016All names owned and trademarked by Nintendo, Niantic, The Pokémon Company, and Gamefreak are property of their respective owners.

In this episode I'm joined by Jordan and Prince from The Dugout Podcast for a deep conversation about Black anarchism, radical education, and building community power beyond the state. We talk about what it means to reject authority while reclaiming care, history, and survival. This isn't theory for theory's sake—it's about practice, archives, and keeping each other alive in a world that would rather see us erased. We also get into the ways Eurocentric leftist traditions can fail to meet the needs of marginalized communities, and how Black anarchist thought offers a path grounded in real histories of resistance. This one covers a lot—from revolutionary schools and zines to abolitionist organizing and the role of podcasts in liberatory education.

The traditional notion of western civilization is premised on the legacy of ancient Greece and Rome. Other less Eurocentric historians, like the Silk Road author Peter Frankopan, point to the role of China in shaping classical Europe. But, in The Golden Road, the Scottish-Indian historian William Dalrymple, challenges this "Silk Road" narrative, arguing India was Rome's primary trading partner and spread its culture peacefully throughout Asia. Dalrymple, who has lived in India for the last 40 years, explains how ancient Indian mathematical innovations like the concept of zero and our number system radically transformed the world. In a far ranging conversation, the astonishingly erudite Dalrymple also discusses his meteoric career as a non-academic historian and podcaster, India's resurgence as a global power, and offers his take on the current tensions between India and Pakistan over Kashmir. Five Key Takeaways* Ancient India was a civilization equal to Greece, Egypt, and China, contributing pivotal mathematical innovations including zero, the numerical system we use today, and advanced astronomical calculations like determining the Earth's circumference and heliocentric universe model—all developed long before the West.* The popular "Silk Road" narrative is largely a modern myth created in the 1870s. In reality, Rome and India were major trading partners, not Rome and China, with extensive sea trade rather than overland routes.* India's historical global influence was achieved peacefully through "soft power" – spreading Buddhism, Hinduism, science, mathematics, and culture across Asia through merchants and monks rather than military conquest.* Despite being a British historian writing about a former British colony, Dalrymple has found remarkable success in India, becoming a bestselling author who has chosen to focus on writing accessible, well-researched histories rather than pursuing a traditional academic career.* The current India-Pakistan conflict over Kashmir represents a dangerous flashpoint between nuclear powers that could escalate without diplomatic intervention, reflecting ongoing tensions that date back to 1947.William Dalrymple FRSL, FRGS, FRAS (born William Hamilton-Dalrymple on 20 March 1965) is a Scottish historian and writer, art historian and curator, as well as a prominent broadcaster and critic. His books have won numerous awards and prizes, including the Duff Cooper Memorial Prize, the Thomas Cook Travel Book Award, the Sunday Times Young British Writer of the Year Award, the Hemingway, the Kapuściński and the Wolfson Prizes. He has been four times longlisted and once shortlisted for the Samuel Johnson Prize for non-fiction. He is also one of the co-founders and co-directors of the annual Jaipur Literature Festival. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Welcome to Rendering Unconscious – the Gradiva award-winning podcast about psychoanalysis & culture, with me, Dr Vanessa Sinclair. https://renderingunconscious.substack.com Rendering Unconscious episode 344. Rendering Unconscious welcomes Susan E. Schwartz back to the podcast! She's here to talk about her new book A Jungian Exploration of the Puella Archetype (Routledge, 2024): https://amzn.to/438dhMI RU344: SUSAN SCHWARTZ ON A JUNGIAN EXPLORATION OF THE PUELLA ARCHETYPE: https://renderingunconscious.substack.com/p/ru344-susan-schwartz-on-a-jungian Susan Schwartz discusses the Puella archetype, emphasizing its energy, creativity, and youthfulness often denigrated in society. She explains the archetype's association with the new moon and the concept of unfolding one's true self. Schwartz highlights the archetype's cultural variations and the need to update it for modern times. She critiques the patriarchal and Eurocentric aspects of the Puella and discusses its challenges, such as non-commitment and superficiality. Schwartz also explores the archetype's connection to social media, body image, and the importance of depth and authenticity in personal growth. Susan E. Schwartz, Ph.D was trained as a Jungian analyst in Zurich, Switzerland. As a member of the International Association of Analytical Psychology she has taught and presented at conferences and workshops in the United States and worldwide. She has several articles and book chapters on various aspects of Jungian psychology. https://susanschwartzphd.com Follow her at Instagram: https://www.instagram.com/susanschwartzphd/ Check out our previous discussions: RU177: JUNGIAN ANALYST SUSAN SCHWARTZ ON THE ABSENT FATHER EFFECT ON DAUGHTERS RU278: SUSAN SCHWARTZ ON IMPOSTER SYNDROME AND THE ‘AS-IF' PERSONALITY IN ANALYTICAL PSYCHOLOGY Thank you for listening to the Rendering Unconscious Podcast and for reading the Rendering Unconscious anthologies. And thank you so much for supporting this work by being a paid subscriber at the Substack. It makes my work possible. If you are so far a free subscriber, thanks to you too. Please consider becoming a paid subscriber to gain access to all the material on the site, including all future and archival podcast episodes. https://renderingunconscious.substack.com News and updates: I have a couple events coming up! Join me Saturday, May 10th, for an online workshop as I explore “Dreams as Art” with writer Emmalea Russo. We'll be delving into dreamwork, artwork, psychoanalysis as a creative practice, and the varying relationships Freud, Jung, Lacan had with art. More info & register here: DREAMS AS ART: Freud, Jung, Lacan: https://emmalearusso.com/new-products/p/psychoanalysis-as-art-freud-jung-lacan Then beginning Sunday, May 25th, I'll be giving a 4-week online course via Morbid Anatomy Museum: The Cut in Creation: Exploring the Avant-Garde, Dada, Surrealism, Modern Art, Noise Music, and Performance Art through a Psychoanalytic Lens: https://www.morbidanatomy.org/classes/p/the-cut-in-creation-exploring-the-avant-garde-dada-surrealism-modern-art-noise-music-and-performance-art-through-a-psychoanalytic-lens-led-by-vanessa-sinclair-psyd If you would like information about entering into psychoanalytic treatment with me, joining the group I run for those who have relocated to another country, or have other questions, please feel free to contact me via vs [at] drvanessasinclair.net https://www.drvanessasinclair.net/contact/ Thank you.

TikTok's obsession with facial symmetry filters is warping the way we see ourselves- and not in a cute, harmless way. In this episode, we dive into how these apps fuel body dysmorphia and push harmful Eurocentric beauty ideals onto millions of users. We'll break down why chasing "perfect symmetry" is a toxic trap and hear what experts have to say about the mental health fallout. Get ready for a no-filter conversation that's sharp, thought-provoking, and impossible to ignore!Are. You. Ready?***************Sources:JAMA Facial Plastic Surgery:https://jamanetwork.com/journals/jamafacialplasticsurgery/fullarticle/2781342Vox article on filter dysmorphia:https://www.vox.com/the-goods/22297888/instagram-face-filter-dysmorphiaBBC article on TikTok filters and beauty pressure:https://www.bbc.com/news/newsbeat-62113819Fearing the Black Body by Sabrina Strings (2019)Dr. Neelam Vashi's research on cosmetic dermatology and social media:https://www.bu.edu/articles/2021/how-social-media-is-affecting-plastic-surgery/Harper's Bazaar article on Eurocentric beauty filters:https://www.harpersbazaar.com/beauty/makeup/a33315429/eurocentric-beauty-standards-instagram-filters/***************Leave Us a 5* Rating, it helps the show!Apple Podcast:https://podcasts.apple.com/us/podcast/beauty-unlocked-the-podcast/id1522636282Spotify Podcast:https://open.spotify.com/show/37MLxC8eRob1D0ZcgcCorA****************Follow Us on Social Media & Subscribe to our YouTube Channel!TikTok:tiktok.com/@beautyunlockedthepodYouTube:@beautyunlockedspodcasthour****************Intro/Outro Music:Music by Savvier from Fugue FAME INC

Welcome to Hot Topics! Join us in this insightful episode as host Gabrielle Crichlow engages with music educator and accomplished harpist and pianist, Candace Lark, to explore the fundamentals of music theory. Together, they break down what music theory truly entails, discussing the critical distinction between reading notes and memorizing sounds, while addressing the concerning gaps in knowledge among college music students.This episode delves into the vital role of music theory in education, covering essential topics such as the core elements of music—including notes, scales, chords, and rhythms—and how these concepts form the foundation for understanding and creating music. Candace emphasizes the importance of skills like sight-reading, ear training, and chord structure, which empower musicians to collaborate, transpose, and compose with greater ease.However, the conversation also highlights significant challenges in traditional music education, including its Eurocentric focus that often neglects diverse musical traditions, as well as the detrimental cuts to music programs in schools. These issues leave many students ill-prepared for college-level music courses, leading institutions to implement remedial programs.Listeners will gain insight into innovative approaches aimed at making music theory instruction more engaging and relevant, ensuring that it resonates with students' unique musical interests and experiences. Advocates for music education argue for a greater societal recognition of music's intrinsic value. This episode provides a balanced perspective on the critical debates surrounding music theory and its adaptation in modern music education, making it a must-listen for anyone passionate about the arts.Who is Candace Lark?Candace Lark is a professional harpist, teacher, speaker, and musician life coach. She assists musicians with tasks such as creating contracts and dealing with gatekeepers. Candace draws from over 25 years of teaching and performance experience to prepare young students for competitions and college auditions. She is a co-founder of Harpquest, a supplemental harp program for young harpists, and a certified Harpmastery Coach, coaching harpists nationwide to meet specific harp goals. In her free time, Candace enjoys spending time with her husband, their dog, reading a good book, and of course, enjoying great music.You can find Candace:On the web # 1: https://www.thehappymusician.com/On the web # 2: https://happymusicianstudio.com/On Facebook # 1: https://www.facebook.com/thehappymusicianOn Facebook # 2: https://www.facebook.com/happymusicianstudioOn Facebook # 3: https://www.facebook.com/groups/happymusiciancoaching/On Instagram # 1: https://www.instagram.com/thehappymusician/On Instagram # 2: https://www.instagram.com/happpymusicianstudio/On Threads: https://www.threads.net/@thehappymusicianOn LinkedIn: https://www.linkedin.com/in/thehappymusiciancoach/By email: thehappymusician2@gmail.comCandace has a promo: Happy Musician Studio will wave the online lesson registration fee for all our viewers, a $150 savings. Just say "Hot Topics Podcast" when signing up.Candace also has a freebie: Get a free copy of her e-book "The 31-Day Workbook - The Happy Musician Workbook"! Use the code "HotTopics24" to waive the $15 fee. Here's the link to the e-book: https://checkout.square.site/merchant/FGTES3FC4XNVP/checkout/NV24X7NJ36ADDNQRKPOKAJLDWatch this episode on YouTube: https://youtube.com/live/YiXQqFf3xHERate this episode on IMDB: https://m.imdb.com/title/tt34259024/?ref_=ext_shr_lnk********************************************Follow Gabrielle Crichlow:On Facebook: https://www.facebook.com/gabrielle.crichlow On Instagram: https://www.instagram.com/gabrielle.crichlowOn LinkedIn: https://www.linkedin.com/in/gabrielle-crichlowFollow A Step Ahead Tutoring Services:On Facebook: https://www.facebook.com/astepaheadtutoringservicesOn Instagram: https://www.instagram.com/astepaheadtutoringservicesOn X: https://www.x.com/ASATS2013On TikTok: https://www.tiktok.com/@asats2013On LinkedIn: https://www.linkedin.com/company/a-step-ahead-tutoring-servicesOn YouTube: https://www.youtube.com/@astepaheadtutoringservicesOn Eventbrite: https://astepaheadtutoringservices.eventbrite.comVisit us on the web: https://www.astepaheadtutoringservices.comSign up for our email list: https://squareup.com/outreach/a41DaE/subscribeSign up for our text list: https://eztxt.s3.amazonaws.com/534571/widgets/61fc686d8d6665.90336120.htmlCheck out our full "Hot Topics!" podcast: https://www.astepaheadtutoringservices.com/hottopicspodcastSupport us:Cash App: https://cash.app/$ASATS2013PayPal: https://paypal.me/ASATS2013Venmo: https://venmo.com/u/ASATS2013Become a supporter of this podcast: https://www.spreaker.com/podcast/hot-topics--5600971/support Original date of episode: October 23, 2024

In Episode 199 of the R.O.D Podcast, we dive into a controversial and urgent conversation: Have Black people been poisoned — mentally, physically, and spiritually — by the White Bite?We explore how colonialism, systemic control, and Eurocentric lifestyles have deeply affected the Alkebulan (African) people — impacts that are still felt today.It's time for pure truth, not comfortable lies.

Was Marx a Eurocentric thinker? Is his work only pertinent to Western societies? What were his views on colonized societies? What about the question of gender? How did Marx's views on non-Western societies change over his lifetime? In this episode, Shahram meets Prof Kevin Anderson, author of “The Late Marx's Revolutionary Roads”, a new book by Verso that analyzes Marx's late works (1869-1882), some of which have only recently been published. These notebooks provide a new way of thinking about the Marxian project.  Professor Anderson explains that in his late writings, Marx went beyond the boundaries of capital and class in Western European and North American contexts. Kevin Anderson's systematic analysis of Marx's Ethnological Notebooks and related texts on Russia, India, Ireland, Algeria, Latin America, and Ancient Rome provides evidence for a change of perspective away from Eurocentric worldviews or unilinear theories of development. As Anderson shows, the late Marx elaborated a truly global, multilinear theory of modern society and its revolutionary possibilities.   About The Dialectic at Work is a podcast hosted by Professor Shahram Azhar & Professor Richard Wolff. The show is dedicated to exploring Marxian theory. It utilizes the dialectical mode of reasoning, that is the method developed over the millennia by Plato and Aristotle, and continues to explore new dimensions of theory and praxis via a dialogue. The Marxist dialectic is a revolutionary dialectic that not only seeks to understand the world but rather to change it. In our discussions, the dialectic goes to work intending to solve the urgent life crises that we face as a global community. Follow us on social media: X: @DialecticAtWork Instagram: @DialecticAtWork Tiktok: @DialecticAtWork Website: www.DemocracyAtWork.info Patreon: www.patreon.com/democracyatwork

listener comments? Feedback? Shoot us a text!Our sponsors: Arkeogato ToursShop AztlantisGO PREMIUM!The Whiteness of “Latinx” ­A couple of years back, Kurly came across a video online about the Chicano Moratorium March of August 29, 1970. In case you've never heard of it, the march was a watershed moment in the Chicano Movement, in which the Los Angeles Police met a peaceful Chicana-Chicano-led protest against the Vietnam War with extreme violence. The ensuing police riot claimed three lives, most notably that of Journalist Ruben Salazar. It remains an important chapter in Chicana-Chicano history. Yet the video claims the Chicano Moratorium “sparked a movement in defense of Latinx lives.”Wait... what?In this episode we talk about the Eurocentric roots of "Latinidad," and how "Latinx" identity is a colonialist tool that centers whiteness while erasing those of Indigenous and African descent.Your hosts:Kurly Tlapoyawa is an archaeologist, ethnohistorian, and filmmaker. His research covers Mesoamerica, the American Southwest, and the historical connections between the two regions. He is the author of numerous books and has presented lectures at the University of New Mexico, Yale University, San Diego State University, and numerous others. He is currently a professor of Chicano Studies at the Colegio Chicano del Pueblo, a free online educational institution.@kurlytlapoyawaRuben Arellano Tlakatekatl is a scholar, activist, and professor of history. His research explores Chicana/Chicano indigeneity, Mexican indigenist nationalism, and Coahuiltecan identity resurgence. Other areas of research include Aztlan (US Southwest), Anawak (Mesoamerica), and Native North America. He has presented and published widely on these topics and has taught courses at various institutions. He currently teaches history at Dallas College – Mountain View Campus.Support the showRSVP for the Yazzie/Martinez Community Gathering! Find us: Bluesky Instagram Merch: Shop Aztlantis Book: The Four Disagreements: Letting Go of Magical Thinking

In Economic Thought in Modern China: Market and Consumption, c.1500–1937 (Cambridge University Press, 2020), Margherita Zanasi argues that basic notions of a free market economy emerged in China a century and half earlier than in Europe. In response to the commercial revolutions of the late 1500s, Chinese intellectuals and officials called for the end of state intervention in the market, recognizing its power to self-regulate. They also noted the elasticity of domestic demand and production, arguing in favour of ending long-standing rules against luxury consumption, an idea that emerged in Europe in the late seventeenth and early nineteenth centuries. Zanasi challenges Eurocentric theories of economic modernization as well as the assumption that European Enlightenment thought was unique in its ability to produce innovative economic ideas. She instead establishes a direct connection between observations of local economic conditions and the formulation of new theories, revealing the unexpected flexibility of the Confucian tradition and its accommodation of seemingly unorthodox ideas. Margherita Zanasi is Professor of Chinese History at Louisiana State University. She has published widely on different aspects of modern China's history, including her first book Saving the Nation: Economic Modernity in Republican China (University of Chicago Press, 2005). She also serves as the editor of the journal Twentieth Century China.  Ghassan Moazzin is an Assistant Professor at the Hong Kong Institute for the Humanities and Social Sciences and the Department of History at the University of Hong Kong. He works on the economic and business history of 19th and 20th century China, with a particular focus on the history of foreign banking, international finance and electricity in modern China. His first book, Foreign Banks and Global Finance in Modern China: Banking on the Chinese Frontier, 1870–1919, is forthcoming with Cambridge University Press. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

In Economic Thought in Modern China: Market and Consumption, c.1500–1937 (Cambridge University Press, 2020), Margherita Zanasi argues that basic notions of a free market economy emerged in China a century and half earlier than in Europe. In response to the commercial revolutions of the late 1500s, Chinese intellectuals and officials called for the end of state intervention in the market, recognizing its power to self-regulate. They also noted the elasticity of domestic demand and production, arguing in favour of ending long-standing rules against luxury consumption, an idea that emerged in Europe in the late seventeenth and early nineteenth centuries. Zanasi challenges Eurocentric theories of economic modernization as well as the assumption that European Enlightenment thought was unique in its ability to produce innovative economic ideas. She instead establishes a direct connection between observations of local economic conditions and the formulation of new theories, revealing the unexpected flexibility of the Confucian tradition and its accommodation of seemingly unorthodox ideas. Margherita Zanasi is Professor of Chinese History at Louisiana State University. She has published widely on different aspects of modern China's history, including her first book Saving the Nation: Economic Modernity in Republican China (University of Chicago Press, 2005). She also serves as the editor of the journal Twentieth Century China.  Ghassan Moazzin is an Assistant Professor at the Hong Kong Institute for the Humanities and Social Sciences and the Department of History at the University of Hong Kong. He works on the economic and business history of 19th and 20th century China, with a particular focus on the history of foreign banking, international finance and electricity in modern China. His first book, Foreign Banks and Global Finance in Modern China: Banking on the Chinese Frontier, 1870–1919, is forthcoming with Cambridge University Press. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Economic Thought in Modern China: Market and Consumption, c.1500–1937 (Cambridge University Press, 2020), Margherita Zanasi argues that basic notions of a free market economy emerged in China a century and half earlier than in Europe. In response to the commercial revolutions of the late 1500s, Chinese intellectuals and officials called for the end of state intervention in the market, recognizing its power to self-regulate. They also noted the elasticity of domestic demand and production, arguing in favour of ending long-standing rules against luxury consumption, an idea that emerged in Europe in the late seventeenth and early nineteenth centuries. Zanasi challenges Eurocentric theories of economic modernization as well as the assumption that European Enlightenment thought was unique in its ability to produce innovative economic ideas. She instead establishes a direct connection between observations of local economic conditions and the formulation of new theories, revealing the unexpected flexibility of the Confucian tradition and its accommodation of seemingly unorthodox ideas. Margherita Zanasi is Professor of Chinese History at Louisiana State University. She has published widely on different aspects of modern China's history, including her first book Saving the Nation: Economic Modernity in Republican China (University of Chicago Press, 2005). She also serves as the editor of the journal Twentieth Century China.  Ghassan Moazzin is an Assistant Professor at the Hong Kong Institute for the Humanities and Social Sciences and the Department of History at the University of Hong Kong. He works on the economic and business history of 19th and 20th century China, with a particular focus on the history of foreign banking, international finance and electricity in modern China. His first book, Foreign Banks and Global Finance in Modern China: Banking on the Chinese Frontier, 1870–1919, is forthcoming with Cambridge University Press. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In Economic Thought in Modern China: Market and Consumption, c.1500–1937 (Cambridge University Press, 2020), Margherita Zanasi argues that basic notions of a free market economy emerged in China a century and half earlier than in Europe. In response to the commercial revolutions of the late 1500s, Chinese intellectuals and officials called for the end of state intervention in the market, recognizing its power to self-regulate. They also noted the elasticity of domestic demand and production, arguing in favour of ending long-standing rules against luxury consumption, an idea that emerged in Europe in the late seventeenth and early nineteenth centuries. Zanasi challenges Eurocentric theories of economic modernization as well as the assumption that European Enlightenment thought was unique in its ability to produce innovative economic ideas. She instead establishes a direct connection between observations of local economic conditions and the formulation of new theories, revealing the unexpected flexibility of the Confucian tradition and its accommodation of seemingly unorthodox ideas. Margherita Zanasi is Professor of Chinese History at Louisiana State University. She has published widely on different aspects of modern China's history, including her first book Saving the Nation: Economic Modernity in Republican China (University of Chicago Press, 2005). She also serves as the editor of the journal Twentieth Century China.  Ghassan Moazzin is an Assistant Professor at the Hong Kong Institute for the Humanities and Social Sciences and the Department of History at the University of Hong Kong. He works on the economic and business history of 19th and 20th century China, with a particular focus on the history of foreign banking, international finance and electricity in modern China. His first book, Foreign Banks and Global Finance in Modern China: Banking on the Chinese Frontier, 1870–1919, is forthcoming with Cambridge University Press. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

In Economic Thought in Modern China: Market and Consumption, c.1500–1937 (Cambridge University Press, 2020), Margherita Zanasi argues that basic notions of a free market economy emerged in China a century and half earlier than in Europe. In response to the commercial revolutions of the late 1500s, Chinese intellectuals and officials called for the end of state intervention in the market, recognizing its power to self-regulate. They also noted the elasticity of domestic demand and production, arguing in favour of ending long-standing rules against luxury consumption, an idea that emerged in Europe in the late seventeenth and early nineteenth centuries. Zanasi challenges Eurocentric theories of economic modernization as well as the assumption that European Enlightenment thought was unique in its ability to produce innovative economic ideas. She instead establishes a direct connection between observations of local economic conditions and the formulation of new theories, revealing the unexpected flexibility of the Confucian tradition and its accommodation of seemingly unorthodox ideas. Margherita Zanasi is Professor of Chinese History at Louisiana State University. She has published widely on different aspects of modern China's history, including her first book Saving the Nation: Economic Modernity in Republican China (University of Chicago Press, 2005). She also serves as the editor of the journal Twentieth Century China.  Ghassan Moazzin is an Assistant Professor at the Hong Kong Institute for the Humanities and Social Sciences and the Department of History at the University of Hong Kong. He works on the economic and business history of 19th and 20th century China, with a particular focus on the history of foreign banking, international finance and electricity in modern China. His first book, Foreign Banks and Global Finance in Modern China: Banking on the Chinese Frontier, 1870–1919, is forthcoming with Cambridge University Press. Learn more about your ad choices. Visit megaphone.fm/adchoices

The vaunted techno producer discusses the connections between visual art and music, balancing a full-time career as a fine artist and how he creates his signature sound. There's a connection between visual art and dance music that's seldom explored on our channels. Mike Parker is well known in the underground techno scene for minimal, hypnotic and beautifully executed sound design that sits somewhere at the edges of club music. But he also received his master's degree in fine art and teaches drawing and painting at Daemon University in Buffalo, New York. Fans of Parker will recognise his visual trademark: monochromatic prints that adorn the covers of the records he puts out on his label, Geophone. In this RA Exchange, Parker sits down with Chloe Lula to talk about how he balances his art- and music-making practices and how they inform each other. He also opens up about the long process of sticking to his sound and finding an audience rather than catering to the demands and suggestions of labels and distributors. His 2001 breakout album, Dispatches—which he reissued last year—is a meditation on the act of living far away from any listeners or immediate influences, and he discusses the ongoing drawbacks and rewards of balancing the Eurocentric pursuit of DJing with day-to-day work that's so geographically removed. He also opens up about his longtime collaboration with Donato Dozzy, his love of mid-20th-century sci-fi movies and how free-form radio shaped his approach to music and art. Listen to the episode in full.

The vaunted techno producer discusses the connections between visual art and music, balancing a full-time career as a fine artist and how he creates his signature sound. There's a connection between visual art and dance music that's seldom explored on our channels. Mike Parker is well known in the underground techno scene for minimal, hypnotic and beautifully executed sound design that sits somewhere at the edges of club music. But he also received his master's degree in fine art and teaches drawing and painting at Daemon University in Buffalo, New York. Fans of Parker will recognise his visual trademark: monochromatic prints that adorn the covers of the records he puts out on his label, Geophone. In this Exchange, Parker sits down with Chloe Lula to talk about how he balances his art- and music-making practices and how they inform each other. He also opens up about the long process of sticking to his sound and finding an audience rather than catering to the demands and suggestions of labels and distributors. His 2001 breakout album, Dispatches—which he reissued last year—is a meditation on the act of living far away from any listeners or immediate influences, and he discusses the ongoing drawbacks and rewards of balancing the Eurocentric pursuit of DJing with day-to-day work that's so geographically removed. He also opens up about his longtime collaboration with Donato Dozzy, his love of mid-20th-century sci-fi movies and how free-form radio shaped his approach to music and art. Listen to the episode in full.

listener comments? Feedback? Shoot us a text!Our sponsors: Arkeogato ToursShop AztlantisGO PREMIUM!Indigenous people of the Americas and the Horse  Every once in a while, we see a story posted on social media claiming that horses never went extinct in the Americas and that Indigenous people had the horse long before the arrival of Europeans. If you spend any time on Indigenous social media, you probably know what we are talking about. Supporters of this claim seek to dispel what they view as a Eurocentric myth. A myth that, in their eyes, buries the true history of the horse in the Americas by discounting Indigenous oral traditions and ignoring archaeological evidence that would reshape our understanding of history.But do these claims stand up to scrutiny? Did the horse really go extinct in the Americas? And what does all of this have to do with a religious zealot from the 1800s? Well dear listeners, hold on tight because it's going to be a bumpy ride as we explore:Your Hosts:Kurly Tlapoyawa is an archaeologist, ethnohistorian, and filmmaker. His research covers Mesoamerica, the American Southwest, and the historical connections between the two regions. He is the author of numerous books and has presented lectures at the University of New Mexico, Harvard University, Yale University, San Diego State University, and numerous others. He most recently released his documentary short film "Guardians of the Purple Kingdom," and is a cultural consultant for Nickelodeon Animation Studios.@kurlytlapoyawaRuben Arellano Tlakatekatl is a scholar, activist, and professor of history. His research explores Chicana/Chicano indigeneity, Mexican indigenist nationalism, and Coahuiltecan identity resurgence. Other areas of research include Aztlan (US Southwest), Anawak (Mesoamerica), and Native North America. He has presented and published widely on these topics and has taught courses at various institutions. He currently teaches history at Dallas College – Mountain View Campus. Cited in this podcast:  Pleistocene Megafauna in Beringia Archaeological Fantasies Pseudoarchaeological Claims of Horses in the Americas New Research Rewrites the History of American Horses Early dispersal of domestic horses into the Great Plains and northern Rockies Pratt CaveSupport the showFind us: Bluesky Instagram Merch: Shop Aztlantis Book: The Four Disagreements: Letting Go of Magical Thinking

The origins and nature of nationhood and nationalism continue to be topics of heated scholarly debate. This major new reference work with contributions from an international team of scholars provides a comprehensive account of ideas and practices of nationhood and nationalism from antiquity to the present. It considers both continuities and discontinuities, engaging critically and analytically with the scholarly literature in the field.  The Cambridge History of Nationhood and Nationalism (Cambridge UP, 2024) also explores nationhood and nationalism's relationships with a wide variety of cultural practices and social institutions, in addition to the phenomenon's crucial political dimensions. Its wide range of regional case studies brings a truly global, comparative perspective to a field long constrained by Eurocentric assumptions. Volume I tracks turning points in the history of nationhood and nationalism from ancient times to the twentieth century. Volume II theorizes the connections between nationhood/nationalism and ideology, religion and culture. Together, they enable readers to understand the roots of how nationhood and nationalism function in the present day. Cathie Carmichael is Professor of European History at the University of East Anglia, Norwich. Matthew D'Auria is a Lecturer in Modern European History at the University of East Anglia. Aviel Roshwald is an American historian and Professor of history at Georgetown University. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science

The origins and nature of nationhood and nationalism continue to be topics of heated scholarly debate. This major new reference work with contributions from an international team of scholars provides a comprehensive account of ideas and practices of nationhood and nationalism from antiquity to the present. It considers both continuities and discontinuities, engaging critically and analytically with the scholarly literature in the field.  The Cambridge History of Nationhood and Nationalism (Cambridge UP, 2024) also explores nationhood and nationalism's relationships with a wide variety of cultural practices and social institutions, in addition to the phenomenon's crucial political dimensions. Its wide range of regional case studies brings a truly global, comparative perspective to a field long constrained by Eurocentric assumptions. Volume I tracks turning points in the history of nationhood and nationalism from ancient times to the twentieth century. Volume II theorizes the connections between nationhood/nationalism and ideology, religion and culture. Together, they enable readers to understand the roots of how nationhood and nationalism function in the present day. Cathie Carmichael is Professor of European History at the University of East Anglia, Norwich. Matthew D'Auria is a Lecturer in Modern European History at the University of East Anglia. Aviel Roshwald is an American historian and Professor of history at Georgetown University. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

The origins and nature of nationhood and nationalism continue to be topics of heated scholarly debate. This major new reference work with contributions from an international team of scholars provides a comprehensive account of ideas and practices of nationhood and nationalism from antiquity to the present. It considers both continuities and discontinuities, engaging critically and analytically with the scholarly literature in the field.  The Cambridge History of Nationhood and Nationalism (Cambridge UP, 2024) also explores nationhood and nationalism's relationships with a wide variety of cultural practices and social institutions, in addition to the phenomenon's crucial political dimensions. Its wide range of regional case studies brings a truly global, comparative perspective to a field long constrained by Eurocentric assumptions. Volume I tracks turning points in the history of nationhood and nationalism from ancient times to the twentieth century. Volume II theorizes the connections between nationhood/nationalism and ideology, religion and culture. Together, they enable readers to understand the roots of how nationhood and nationalism function in the present day. Cathie Carmichael is Professor of European History at the University of East Anglia, Norwich. Matthew D'Auria is a Lecturer in Modern European History at the University of East Anglia. Aviel Roshwald is an American historian and Professor of history at Georgetown University. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The origins and nature of nationhood and nationalism continue to be topics of heated scholarly debate. This major new reference work with contributions from an international team of scholars provides a comprehensive account of ideas and practices of nationhood and nationalism from antiquity to the present. It considers both continuities and discontinuities, engaging critically and analytically with the scholarly literature in the field.  The Cambridge History of Nationhood and Nationalism (Cambridge UP, 2024) also explores nationhood and nationalism's relationships with a wide variety of cultural practices and social institutions, in addition to the phenomenon's crucial political dimensions. Its wide range of regional case studies brings a truly global, comparative perspective to a field long constrained by Eurocentric assumptions. Volume I tracks turning points in the history of nationhood and nationalism from ancient times to the twentieth century. Volume II theorizes the connections between nationhood/nationalism and ideology, religion and culture. Together, they enable readers to understand the roots of how nationhood and nationalism function in the present day. Cathie Carmichael is Professor of European History at the University of East Anglia, Norwich. Matthew D'Auria is a Lecturer in Modern European History at the University of East Anglia. Aviel Roshwald is an American historian and Professor of history at Georgetown University. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/world-affairs

What if the concept of decadence holds the key to understanding our societal and political structures today? This episode challenges traditional narratives by dissecting Samir Amin's unfinished work on revolution and decadence through a Marxist lens. We navigate through Afibung's critique of decadence theory, contrasting Marxist views with more coherent conservative critiques of current institutions. Furthermore, we tackle the pressing issues in the education systems of the U.S. and Britain and ponder how the normalization of capitalist problems by the left may hinder societal progress. Our dialogue draws on insights from Christopher Lasch's "Culture of Narcissism" to suggest that the root of societal issues may go deeper than mere narcissism.Join us on a journey through historical socio-political frameworks as we question Eurocentric grand narratives and explore the tributary mode of production. With a critical eye, we scrutinize the tendency of Marxist scholars to generalize historical categories and contrast this with the nuanced perspectives of civilizations like the Roman, Byzantine, Arab, and Ottoman empires. This discussion probes the coherence of these generalizations and their role in understanding the evolution of productive forces and state structures, challenging the utility of broad historical categorizations.Imperialism and socialism's past and present dynamics take center stage as we analyze the challenges of forming anti-imperialist alliances in today's fragmented world. Reflecting on historical parallels, from the Roman Empire to modern Western capitalism, we examine the enduring divisions of labor and the pressures facing nations like China and Cuba. Through the lens of global socialist states, we explore Hugo Chavez's vision for a Fifth International and the ongoing struggles of socialism in the context of economic development and class struggle. This episode invites listeners to reconsider the nature of revolutions and the implications of bourgeois ideologies in shaping new modes of production.Check out Revolution or Decadence by Samir Amin. Send us a text Musis by Bitterlake, Used with Permission, all rights to BitterlakeSupport the showCrew:Host: C. Derick VarnIntro and Outro Music by Bitter Lake.Intro Video Design: Jason MylesArt Design: Corn and C. Derick VarnLinks and Social Media:twitter: @varnvlogblue sky: @varnvlog.bsky.socialYou can find the additional streams on YoutubeCurrent Patreon at the Sponsor Tier: Jordan Sheldon, Mark J. Matthews, Lindsay Kimbrough, RedWolf, DRV, Kenneth McKee, JY Chan, Matthew Monahan