Podcasts about Asian Americans

Yale Law's Justin Driver argues that SFFA v. Harvard/UNC broke with precedent and embraced a faux “colorblindness,” spotlighting the Court's creative reading of Grutter's 2028 “sunset.” He lays out the early fallout—sharp drops in Black enrollment at elite schools, Asian American gains, and the perverse incentive for applicants to “essay their trauma.” We debate mismatch theory, legacy and athletics preferences, and how universities can lawfully pursue diversity without outright defiance. Also: Argentina's bailout, the Tylenol culture war, and new federal threats to district DEI funding. Produced by Corey Wara Production Coordinator Ashley Khan Email us at ⁠⁠⁠⁠thegist@mikepesca.com⁠⁠⁠⁠ To advertise on the show, contact ⁠⁠⁠⁠ad-sales@libsyn.com⁠⁠⁠⁠ or visit ⁠⁠⁠⁠https://advertising.libsyn.com/TheGist⁠⁠⁠⁠ Subscribe to The Gist: ⁠⁠⁠⁠https://subscribe.mikepesca.com/⁠⁠⁠⁠ Subscribe to The Gist Youtube Page: ⁠⁠⁠⁠https://www.youtube.com/channel/UC4_bh0wHgk2YfpKf4rg40_g⁠⁠⁠⁠ Subscribe to The Gist Instagram Page: ⁠⁠⁠⁠GIST INSTAGRAM⁠⁠⁠⁠ Follow The Gist List at: ⁠⁠⁠⁠Pesca⁠⁠⁠⁠ ⁠⁠⁠⁠Profundities | Mike Pesca | Substack⁠⁠⁠⁠

ABG greets you with a * special * episode, catching you up on what's been keeping the ABG girls busy, recent reflections, & introducing a new podcast with 3 brand new faces!! Hot Pursuit is the first new podcast under the AsianBossGirl brand that aims to empower the next generation of Asian American women

In this episode, David Chao introduces Chrislyn Choo, an artist and storyteller passionate about exploring family history and roots. Chrislyn shares her journey of discovering her ancestry and the transformative power of storytelling. They discuss her involvement with projects like My China Roots and the Parents Are Human Project, her experiences in reconnecting with her heritage, and how story work can bridge intergenerational gaps and aid in healing trauma. Join us for a profound discussion on the spiritual and emotional impact of storytelling within the Asian American community.Photo by Lucas Marques: https://www.pexels.com/photo/sunset-near-hong-kong-coast-14454057/ This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit caacptsem.substack.com

Jeff and Phil welcome their old friend Oliver Wang, professor of sociology, curator for the Japanese American National Museum exhibition Cruising J-Town: Behind the Wheel of the Nikkei Community, and author/editor of the exhibition's companion book. They talk about the rich history of Japanese American car culture in Los Angeles, its significance in shaping community identity, the impact of urban development, the surprising gamesmanship involved in street racing, and the complex tapestry of stories still waiting to be uncovered in Asian American history. Oliver also shares some of his research on an important question: why is "Bizarre Love Triangle" the unofficial anthem for Asian Americans (of a certain age)?

In this episode of Asian American Parenting, Danny is joined by longtime youth pastor Justin Wong. Justin has served students and families for the past 25 years within the Asian American church community and most recently completed his second doctorate degree researching Gen Z students and the Asian American Church. They discuss aspects of the hit show K-Pop Demon Hunters and how parents can engage with their own children and teenagers about it. They also discuss social media in general and its influence on teenagers and children. How to Teach the Gospel To Teenagers Through Culture by Chelsea Kingston EricksonWhat Teenagers Need From Parents: Understand the Challenges of Technology by Christina FoxDiscipling Your Teenagers, a Rooted video course The Wisdom Pyramid: Feeding Your Soul in a Post-Truth World by Brett McCrackenThe Anxious Generation: How the Great Rewiring of Childhood Is Causing an Epidemic of Mental Illness by Jonathan Haidt Follow @therootedministry on Instagram for more updates!Follow and subscribe to Asian American Parenting wherever you listen to podcasts.Join us at the Rooted 2025 Conference! Romans 8:31-37Psalm 61:1-4 Romans 8 for ParentsWhy Teenagers Need to Know that God is For Us by Steve Eatmon Mom and Dad, Nothing Can Separate You from the Love of Christ by Dan Hallock Follow @therootedministry on Instagram for more updates Register for Rooted 2025 Conference in Chicago

Jeff Chang, in his new biography "Water Mirror Echo," explores how the short of life of Bruce Lee helped make Asian America. Born in San Francisco's Chinatown, Lee was denied the lead role in Warner Bros.'s 1970s TV series "Kung Fu," which was given instead to David Carradine in yellowface. Lee's collision with Hollywood rejection became a catalyst for his rise at a time of emergent Asian American political consciousness. Chang discusses how Lee became a global symbol of Asian American dignity, and how his legend has only grown in the decades since his death.

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Host Miko Lee speaks with author, activist Michelle MiJung Kim about her new Podcast, I Feel That Way Too. Then we listen to the first episode. Michelle MiJung Kim Website I Feel That Way Too podcast     I FEEL THAT WAY TOO show Transcript Miko Lee: Welcome to APEX Express. I'm your host, Miko Lee, and tonight I'll be talking with author, speaker, and activist, Michelle MiJung Kim, about the new podcast. So we get to listen after the interview to the very first episode, and you get a little behind the scenes with activist Michelle MiJung. Kim, stay tuned. welcome, Michelle MiJung Kim to Apex Express. I'm so excited to chat with you. You are an award-winning author, activist, and now a podcast host. Hello girl. Welcome. Yay. Michelle MiJung Kim: Hello. Thank you so much for having me, Miko. I'm so excited. Miko Lee: I wanna start with my big question, who are your people and what legacy do you carry with you? Michelle MiJung Kim: Hmm. What a deep question that I can go on forever about. My people are, first and foremost people who are in my life, who have supported me throughout. Everything that I've gone through in my life, including my friends and family who have different lineages, people, most of the people that I hold near and dear carry with them, a deep understanding of their historical trauma, their familial trauma, and people who are courageous enough to share them [00:02:00] with me. So that really creates this bond that I have with my people. A lot of my people are in the queer and trans community and in the physical space of the Ohlone land, also known as Oakland, California. A lot of my community rooted in my Asian American identity. Miko Lee: Love this. My follow up, what is the legacy you carry with you from your people? Michelle MiJung Kim: The legacy that I carry from my people that jumps out to me right now is the legacy of my grandparents. My grandparents were both born in Korea. My grandpa from the north, my grandma from the south, and I am always thinking about how my grandpa was fighting for the Korea's liberation from Japanese occupation, and he was a writer himself. I always saw him writing and he had [00:03:00] stacks of paper ready to be published, but he ended up not being able to publish before he passed. So my book dedication starts with my gratitude to my grandparents and my grandpa specifically. The legacy of his work, his spirit, his love for philosophy, social justice language I carry with me. My grandmother, who was part of the first class of women in her generation to go to a university she was a badass matriarch of our family and her energy, her audacity, her courage, her confidence in her herself and her community is what I try to channel. I think about them every day. Miko Lee: Ugh. I love that. I'm wondering if you could share a little bit about your book. Michelle MiJung Kim: My book is called The Wake Up Closing The Gap Between Good Intentions and Real Change and really it's part memoir, part [00:04:00] principles of Social justice that I hold near to my heart. I really wanted to write a book that could be timeless and that could put into accessible ways how we can embody these values that are important for our collective liberation. So much of the social justice work that I encountered throughout my education journey had been highly intellectualized and theoretical and sometimes not unpacked in ways that feel human. I wanna see how people are struggling to hold social justice values while living their daily lives. How sometimes it gets challenging to embody the values that we say are important to us because it asks us to trade off our comfort and safety sometimes. I wanted to be really honest about my experience trying to live in alignment with my values, including the parts of my own contradictions and struggles and paradoxes that I've had to navigate. Miko Lee: Such a powerful [00:05:00] book for the time of now in that it does have the personal story, but then also recognizing what's happening in our world. It's really action forward. Tell me how you got from this book to creating a podcast series called. I feel that way too. Tell me what inspired this whole series? Michelle MiJung Kim: I think it is an extension of the work that I've been doing, which really marries personal storytelling and social justice values. I Feel that way too, exploring these tricky life questions like, can we be friends if we politically disagree? What if I'm not above revenge, even though I am a self-proclaimed abolitionist? Why do I have this urge to, be vengeful and why do I feel gleeful when people that have done harm get punished, right? Am I supposed to sleep with one person for the rest of my life? Am I a bad daughter? These are all the questions that I've struggled [00:06:00] with. I wanted to have an opportunity to unpack them with raw honesty and with guests that could really help guide me in thinking about these things while trying to stay tethered to my values around social justice. I've always been a fan of audio storytelling. So this was the perfect opportunity to explore that, especially in an era where the world is constantly insisting we solve these issues in isolation and we deal with our traumas in shame and without each other's witnessing. This is my way of hopefully making people feel a little bit less alone in their struggles and also in a way that, helps us to build more courage and community through stories. Miko Lee: I binge the entire season. Super fun, super personal., I was wondering how did you decide on these topics? Did they come naturally [00:07:00] or did you create an arc? Tell me about your process. Michelle MiJung Kim: I had probably two, three pages long list of topics that I wanted to explore and we had to pick and narrow it down. I wanted to tackle questions that felt existential in the collective psyche. I look at and feel into the zeitgeist of what is happening in the world . These are the questions that I wanted to explore because of my own life, but also some of these questions bring up a lot of shame and tension. when I looked at other podcasts that were exploring similar topics, I just felt as though a lot of these issues were being talked about in a very intellectualized way, in a very theoretical way without the raw sort of personal storytelling aspect that I was craving. So this was my attempt at being, courageous and practicing what I preach and being able to share some of the more vulnerable [00:08:00] tensions that aren't typically explored in the public arena. Miko Lee: Oh wow. So two whole more pages for future seasons of shows to do. I was, struck by how vulnerable the episodes are, how they're so personal. The first one being around, supporting your single mom and around financial and really emotional stability that really struck me as being so very personal and deep. I just wonder, has your mom and dad listened to the series or particularly that episode and what has been any response? Michelle MiJung Kim: Yeah. Um, my dad, no, but my mom, yes. I wanted my mom to listen to it before it aired. 'cause I thought that was the only fair thing to do. I gave her the option also to not have this air if she didn't want it to go live. And I was. So [00:09:00] scared about how she was gonna receive it. And for the listeners, the story really goes deep into my struggle around prioritizing her needs over my desires, and constantly living in this. Feeling of guilt for not doing more to support my mom. And also our definition of love and sacrifice being entangled in ways that feel sometimes impossible to navigate. I had attempted to have this conversation years ago with my mom that like completely backfire that I talk about on the podcast and, since then, I just never broached the subject because I was so nervous about how she was gonna take it. , And my biggest fear was her feeling less loved and feeling, hurt by my honesty. And so when it came time for me to present this podcast to her, I was incredibly nervous. What ended up happening was we ended up listening to the episode together. She was sitting [00:10:00] right there on the couch behind me and the, I played the episode and I just couldn't look at her face. So instead of looking directly at her, I had my camera on , so I could look at her through my phone. And I had my back toward her, and within the first five minutes she started crying. So I would pause the episode, talk to her about what was coming up for her. We would cry, we would fight, we would argue, we would apologize and we would cry again. So the entire episode that's 30 minutes long, took us three hours to get through. Miko Lee: Wow. Michelle MiJung Kim: It was incredibly difficult emotionally. And it was probably one of the most pivotal interactions I've ever had with my mom. I've been able to be more honest than ever with her. [00:11:00] She got to also be honest in her reaction and response, and we were able to be really brave with our vulnerability, which we had never done because most of our lives, our love and , especially our pain was communicated through silence. Just pretending that we're not hurting because we don't wanna hurt the other person. Very Asian. It was hard, very Asian, but it was also really healing. Miko Lee: Wow. I would love, love, love a follow up episode with you interviewing your mom. Michelle MiJung Kim: Yeah. I don't if request that. Miko Lee: I dunno if she'd be downed for that, but that would, I'm curious if you could share a little bit more about your needing to have your back toward her in the beginning and if that shifted over those three hours. Michelle MiJung Kim: Yeah. I think it was my fear of my truth being seen by her , and the inability for me to face her [00:12:00] when I knew my truth was hurting her. Hmm. And I also didn't want to pressure her to react in a certain way when I'm looking at her. So I, I, I don't know if she knew that I was looking at her through my phone. But I think I really wanted her to have an honest reaction and, that scared me. So I, and so at some point in. Yeah, I did turn around after I saw her crying. I paused the episode and I looked at her and I said, well, what's coming up for you? And she, her first thing, the first thing that she said was, I just don't remember it that way. Which started a whole nother conversation right around how she remembers my childhood, from her vantage point. And I think it's only natural for a parent, for anyone to want to know that their child, was not [00:13:00] hurt by their choices and that they did the best that they could and that was enough. And I think it's really hard to make space for the possibility that their best. Also cause harm. Hmm. Without making them, one dimensionally a bad person or a bad mother. I think holding multiple truths like that can be so difficult , for anyone, but especially when it comes to the impact that our action has on our loved ones. Mm-hmm. So I think it was truly, shattering the image of what she thought was our childhood. And rewriting an entire history in her mind, in order to make space for my reality. And I think that took a lot of courage on her part, and also a lot of grace, that she had to extend to herself and me. Miko Lee: And by the end of that three hours, did you have a sense of resolve or a different [00:14:00] path moving forward? Michelle MiJung Kim: I think we didn't come to a hundred percent agreement on what happened, which I didn't expect. But there was certainly things that were said that we had never verbalized before around what was hard, what was painful, and what we kept from one another. And I think we needed time away from each other to really process that. So I think we did the best that we could. Actually that night we went to a concert together 'cause we already had tickets and we could not go. And we went, Miko Lee: what was the concert? Michelle MiJung Kim: We went to a K-pop concert, Bada, which is Miko Lee: Oh yeah. Michelle MiJung Kim: All like dancing. Miko Lee: Love her. Michelle MiJung Kim: So we just let out all of our angst , dancing and that was a good end to our night. Miko Lee: That's a great way to actually resolve dance it out. Michelle MiJung Kim: Yeah, exactly. We just dance it out. And then, at first it was a little awkward, but, we got over it. Mm-hmm. [00:15:00] Afterwards, she listened to the podcast on her own with a transcript because her first language is not English. She really wanted to make sure that she understood what she listened to. So she had the transcript in front of her and she was looking up words that she didn't understand. She said that really helped her to understand more of what, I was trying to say. I didn't expect this, but weeks later she just randomly said, I am really sorry. I did the best that I could and I didn't know how much you were carrying. That changed everything for me. I didn't expect that kind of acknowledgement and validation from her when I was putting out this episode when I was writing it. I truly just wanted to do justice to my own truth and make space for my stories in ways that I'd never done before. But to then receive her acknowledgement, of some of the things that [00:16:00] I talked about was. Truly invaluable and healing in ways that I didn't expect. That completely changed our relationship. I'm able to be a lot more honest with her and I feel less, guarded about, the most tender parts of me when I'm around her. Miko Lee: Wow, that's so powerful that one episode. How impactful. Thank you so much for sharing about that. the topics that rose to the top in your conversations? Every single one of them had such universality, the Oxford study then the talking about Gaza and the impact on your job, being friends with somebody that you disagree with politically, each of these topics, there's so much resonance. I'm wondering of the three pages you had to choose from, how did these float to the top? Michelle MiJung Kim: It was a tough one. I had a team that I talked to about which topics to prioritize and we all got votes [00:17:00] on which ones we wanted to talk about. Some I had to really push to get it in to the season. The one about, my open relationship journey, they were like, why the hell do , we wanna talk about this? For me it was like, it's not about how to do open relationship 101 or how to do poly 1 0 1. It's actually about desire. Right. How we get in touch with our desire and practice wanting and being able to practice wanting that is at the core of that episode. I really wanna talk about it because no one else was talking about it. Miko Lee: I appreciated that episode because it was about autonomy. Like how do you hold on to who you are as an individual? To me, I didn't look at it as much about poly as much as it about who am I and how do I hold on to my belief in who I am even in the midst of being in a relationship. Michelle MiJung Kim: Absolutely. Exactly. I think I wanted to prioritize topics that weren't popular in terms of the public discourse, not 'cause [00:18:00] it's not something that people are grappling with, but because it's tricky to navigate. Because it requires a lot of nuance and often I think when we talk about desire or when we talk about personal wellness and self-development, it's so often done through the lens of, white co-opted, self-help culture. I wanted to do it in a way that felt more in alignment with my values around social justice. I picked the topics that were less explored through that lens, but also that, I felt were present in our public zeitgeist and in the cultural musings. Some of these topics were also timely. Like the one about my job loss due to Palestine or my struggle with my friendships that were breaking all over the place because of our political disagreement or the conversation around [00:19:00] abolition and conflict, navigating conflict in our own lives that map to our vision of the collective liberation Miko Lee: and the contradictions that we hold. Michelle MiJung Kim: Exactly, and the contradictions that we hold and that we have to make room for that often get, muted or disregarded because it's uncomfortable to talk about or that makes us feel less radical, less critical, less social justice-y And I think these are actually quite urgent topics that we need to talk about in order for us to create more, coalitions, more resilient relationships that is at the foundation of all of our organizing. Whether that is, you know. Or in our political work or personal, , living in alignment with our values. So I felt these were also timely conversations that needed to be had in a way that felt accessible, personal, and honest, that wasn't overly packaged up. So that people can [00:20:00] resonate with the raw struggles. Miko Lee: I also appreciate how you put listeners voices in at the end and just with their perspectives, because as you're talking about, for instance, the breaking up with friends because of political differences, then we're hearing other people's voices about their experiences. So how did you do those call out for those voices and did you identify specific topics you wanted colleagues to speak on? Michelle MiJung Kim: Yeah, so we did a call out for voicemails for every episode, and it was so important for me. I kept pushing our team to do it, even though we were running out of time and resources. They were like, no, we gotta cut this part out. And I was like, no, because the podcast is called, “I Feel that way too” and it's about, not just me, but how my story then gets reflected by the entire community. I wanted to make sure that the community voices become a part of this episode. I did a call out on my social media, on my newsletter, and it was actually quite hard to get people [00:21:00] to submit voicemails. I think people feel a lot of pressure to get it perfect. I asked my friends and they said they wanted to do it, but they were feeling pressured because they feel, they felt like they didn't know what to say and they wanted to say it in a way that felt professional. And so Miko Lee: come up with something profound. Michelle MiJung Kim: Exactly. They wanted to be profound and everything that we do, I think takes a level of courage. I really appreciated people who submitted their voicemails. Miko Lee: Yeah. Michelle MiJung Kim: We had voicemails coming from New Zealand, from Taiwan, from the United States from Canada, and so it was wonderful to know that there was a global sort of connection to these issues and the things that we are grappling with, and also knowing that we're none of us is really alone. Miko Lee: Speaking to the alone, we're living in such a time of isolation right now and where there's two different parties with really clear agendas and people are this way or [00:22:00] people are that way, and yet your title is, “I feel that way too”. Can you share a little bit about where that title comes from? Michelle MiJung Kim: I was part of my very first high risk direct action calling for an end to the genocide in Palestine, I was terrified and I decided to partake in it because I didn't know what else to do to process my anger and my desperation, watching what was happening unfold on my screen. I just felt like I had to do something more than what I was used to doing, whether it's donating or signing petitions or writing. There was a collective gaslighting during that time where the media outlets were justifying what was happening in Gaza. People were being, retaliated against for talking about Palestine. There was this overall, polarization between people who felt this [00:23:00] urgent need to do something about Palestine versus people who are living their daily lives as if nothing was happening. I went to participate in this direct action, I was surrounded by people who felt similarly, and after this really intense action took place when everybody was highly activated and charged because we had just seen our comrades be arrested and then released, and we were, just in our adrenaline. We all held hands to chant together collectively. And the chant went like this. ” Don't worry, I got you. I feel that way too. We'll get through together, we'll make our way through.” And when the chant leader said, I feel that way too, something in me broke and I just started weeping. In that moment, I just needed to feel like I wasn't alone in feeling this kind of [00:24:00] desperation, this type of pain and trauma, and anger towards our systems, and that just holding hands with complete strangers. Chanting, I feel that way too. Made me feel so much more grounded and hopeful and courageous to a point where I felt I was able to take more risks than I was comfortable with. So that's where, that's the origin of the phrase. I feel that way too, for our podcast. I just think back to that moment where I felt so seen, I felt so held and encouraged just by the sentence. I feel that way too. That's the kind of feeling that I hope to be able to gift to our listeners, whoever's listening to our podcast and whatever topic may be. I hope more people feel encouraged by the stories that we share and the way that we are creating space for us to be vulnerable and courageous together. Miko Lee: I [00:25:00] love that. So you're asking your audience to listen, feel connected to something else, be able to be part of a bigger movement. Are there other things that you want your audience to ponder or to take action on? Michelle MiJung Kim: I think the podcast really is about, community and courage. The podcast asks us to be courageous about identifying what we want, about how we want to live our lives, who we want to be, and being courageous enough to face the contradictions and make space for the collective, and connection. I would love more than anything for people to feel seen. But also feel encouraged to share their stories with people in their lives and to hopefully be able to take action together. I think the action of caring for one another in this vulnerable, honest way, the way that my mom and I got through that very difficult conversation. That [00:26:00] in and of itself is healing. Multiple generations of trauma. If we all could muster up the courage to practice that level of honesty and courage with one another, so much of our, need to heal can be met and so much more possibility emerges from that action. After airing some of the episodes, we also hosted a discussion session. Called the Courage Collective, where we got to discuss and unpack what came up for people after they listened to the episode, and that was incredible. Just being able to have a consistent space where people can meet provided that sense of community that we all need right now to be able to move in solidarity with our broader movement , and to sustain this very difficult, exhausting path that we're all walking in our personal lives, but also in our collective lives. I hope people can listen to the podcast and share with somebody that they wanna talk about the topics and keep the [00:27:00] conversation going in a way that can encourage you to take action that brings you closer to more community, more possibilities for our collective liberation. Miko Lee: Michelle MiJung Kim, thank you so much for joining us on Apex Express. We're gonna put a link to the entire series in our show notes. where else can they find out more information about you and your work and your book. Michelle MiJung Kim: Everything you need to know about me on my website, www.michellemijungkim.com. You can sign up for my newsletter and follow me on social media, on Instagram at Michelle Kimkim or on LinkedIn. Miko Lee: Love it. Thank you so much for joining me. So now take a listen to the first episode of, “I Feel that way too.” Michelle MiJung Kim: The other day I was talking to my mom about my uncle, her older brother who has stage four lung cancer. My mom was [00:28:00] venting about how upset she was that her brother's kids weren't jumping at the opportunity to pay his hospital bills. She said he sacrificed his whole life for them. How could they do this to him? I mean, they have their own lives too, mom. One of them has a little kid. It's not exactly cheap to raise kids in Korea. So I don't know. It feels fair to me that they're talking about what they can or can't afford. My mom was not having it. She said they have their whole lives to be there for their kid, but their dad, he doesn't have that much time left. They should do everything they can to support him. Wait, were we talking about love or money? My mom knew there was a difference right after a few back and forths. I just asked her the question that I really wanted to ask. Do you think uncle feels like his kids [00:29:00] don't love him because they're not giving him money? It wasn't just a question about my uncle and his kids. It was a question about me and my mom. About love and sacrifice, after all, isn't our willingness to sacrifice the ultimate measure of our love. Hi, and welcome to, I Feel That Way Too, a podcast where we ask some of life's trickiest questions and together find the courage to unpack them one story at a time. If you've ever wondered how life could be different, but didn't know where to turn, I'm here to tell you, you are not alone. I feel that way too. Ever since I was young, I felt responsible for taking care of my single mom. You know, growing up seeing her sacrifice so much for [00:30:00] me and my younger sister. When I got older, I just thought, yeah, that's my job now. That's just what you do, right? Whether it was taking a soul sucking corporate job, or using my savings to relocate her from Korea. I took the responsibility for caring for her seriously. I took pride in it. Whatever sacrifice I had to make felt appropriate, given how much I love her and how much she'd given up to raise me. But as an adult, I've been struggling with this more and more. If the only way I can express my love is by showing how much I'm willing to sacrifice, then how can I ever prioritize my own desires and needs? What do I do with all the guilt and shame and resentment that comes from feeling burdened by this responsibility? Have I become so Americanized that the idea of al piety feels suffocating? Am I a bad daughter? I mean, [00:31:00] that's such a common experience. This can be even more complicated in immigrant families because often we have those values, right? Sahaj Kaur Kohli: Asian values, filial piety, or we see fism as a really big value in immigrant households. So putting other people first, prioritizing the family over the individual, that's a hedged core Coley. She's a therapist, writer, and founder of Brown Girl Therapy, the first and largest mental health organization for children of immigrants. I've been following her on Instagram for years now, and I love the fact that she's making mental health relevant and accessible for Asian Americans like me, like learning Speaker 3: about words like enmeshment. So enmeshment is this idea that there are very loose or no boundaries within. Relationship. So in the family system, if we're talking about families, there are no boundaries. There is research that suggests that immigrant families tend to be more enmeshed because they're actually trying to protect themselves and their loved ones, creating these insular communities and [00:32:00] families from harm from the dominant society. So it was adaptive initially, but of course, just because it's adaptive doesn't necessarily mean it's healthy. We can see now that that kind of loose boundaries can lead to people feeling really dependent on one another. So often that's it's hierarchical in immigrant families, so it's a top down of dependency, but then children are being dependent on more, depending on your birth order, your age, your gender, your being dependent on in different ways. Sahaj Kaur Kohli: Becoming someone my mom can depend on was kind of my life purpose for a long time. My attention was always on what she needed and how I could provide that as a kid. I rarely asked my mom for anything that wasn't practical or necessary. She was a single working mom, and I could see how hard she was working just to keep us afloat. Instead, I tried to help however I could. I'd hand over my New Year's allowance from my aunties and uncles. Whenever we went out [00:33:00] to eat, I'd always check the prices on the menu to make sure I wasn't picking something too expensive. I worked hard in school, got good grades, and told myself, this is how I can help. I'll get into a good college, land a good job, and make enough money to take care of her. That's exactly what I did. Right after college, I jumped into corporate America instead of chasing my passion for social justice because. At the time, what mattered most was bringing my mom to the US and supporting her financially. And honestly, I was proud of myself for that, starting so young, being able to help my mom. It felt good. Looking back though, I realized that I never really let myself just want things, you know, like things just for me. And then in my thirties, something started to shift. I found myself really struggling with our relationship. I was having trouble differentiating my desires from her needs. Speaker 3: So in the Western world, we talk about [00:34:00] individuation. When you're an adolescent, you were growing up and you start to build your unique interests and you start to prioritize your friends and you start to be your own person. A lot of us immigrant children didn't really get that we were still expected to do X, Y, and Z, so we didn't really get that chance to individuate around that age, you know, as we're 12, 13, up until 19, 20, 21. And so a lot of us are doing that later in life. I work with clients who are 30, 40, 50 years old who are like, wow, this is the first time I'm doing something for myself. Sahaj Kaur Kohli: At every crossroads in my career, my decisions were often tied to one question. How will this affect my ability to support my mom? Can I quit my job? How much money do I need saved up to cover both of us for six months? Even little decisions like whether to make a frivolous purchase came with this gnawing sense of responsibility. That kind of mental math had become second nature, but prioritizing my own joy and [00:35:00] abundance. Well, that always came with a side of guilt. It felt like my entire life was split in two. One part lived for me and the other for my mom, and as I got older, the tension between the two only grew becoming harder to navigate and more emotionally draining. Sahe calls this parent child role reversal parentification. Speaker 3: At the root of it, there are two types of parentification. There's instrumental parentification, which is more about taking care. In more practical roles of the family. So maybe, you know, cooking for sick relatives or making sure your younger siblings were okay, or if you were a latchkey kid, left at home alone, you know, going to school one time, making your bed, all of these things that you had to do for yourself or for your family because maybe your parents were out working or just weren't able to do it. And then we have emotional parentification, which is more about taking on those emotional roles. So being the family mediator, maybe taking on the role [00:36:00] of a parent or a spouse for one of your parents, because either one parent isn't more present or because emotionally they don't have the type of relationship where they speak to each other more emotionally or vulnerably. So a parent might use a child to do that. It's also about generally managing your parents' feelings. Sahaj Kaur Kohli: One year after many years of working with my therapist, I mustered up the courage to set some financial boundaries with my mom. Not necessarily because of money, but because I needed to shed the guilt. That gnawing feeling that whatever I was doing was never enough and that there was always more to give. I thought if I can get my mom to tell me the exact amount that she actually needs, then I can finally know that I'm meeting her expectations and I don't have to wonder if I'm not doing enough. I could handle the financial responsibility, but I didn't wanna carry the emotional weight anymore. So one day at a [00:37:00] posh new Indian Fusion restaurant that I thought she'd like, I mustered up the courage to ask her, can you tell me exactly how much you need monthly so I can better budget my own finances? Up until then, I was paying her rent and giving her allowance in random amounts, paying for whatever needs arose at various times throughout the month. She was visibly perturbed by my question. Without looking at me, she said, just give me whatever you can. I insisted, no, mom, I want you to tell me what you need and want. She replied, I just want you to do what feels good and right for you. I said, I don't know what that is, so I need you to tell me. I was getting frustrated. She was getting uncomfortable, so I said. Okay, fine. So if I said $500 per month, that's okay with [00:38:00] you. She looked visibly worried. See, so you know what you need. Why won't you just tell me, make my life easier? She burst into tears. Why are you making me say an amount? You want me to feel shame? I already feel bad now. We were both cry, yelling. People at other tables were exchanging awkward glances. She said, don't make me say an amount out loud. I want you to support me because you love me and because you want to, not because I'm asking you to. At this point, my voice was near full volume, tears dripping down my face from knowing I had caused her pain, but somehow my untamed anger kept spilling out. Despite knowing full well that I had done enough damage to my mom's heart, I desperately needed her to see my pain too. I shouted, [00:39:00] I do love you, and I'm asking for your help. Why can't you just help me? I never got my mom to say an amount. It was as if I had spoken the very thing that needed to remain unsaid. By speaking the unspoken. I had broken the delicate dance we'd been doing for decades where love meant anticipating needs and quietly fulfilling it to save face. Where protecting meant pretending not to see the weight we each carried, because naming it would make it all too real. Silence had become our shared language of care, but now we were at a loss for words. We packed up our untouched food without speaking and left the restaurant, and I never brought up the topic again. And here I was wanting her to tell me exactly what she needed so that I could feel less [00:40:00] guilt for feeling like I'm not doing enough, even though I was doing a lot. Speaker: Mm-hmm. Sahaj Kaur Kohli: And so we were at this crossroads and we couldn't see past each other's pain and our own pain in being able to connect to one another. And since then I've been really hesitant to bring up. Any conversations around money or boundaries with her, because first and foremost, I'm terrified of her feeling like she's not loved. That somehow if I bring this up, she's going to feel more like she's a burden and she's going to stew in her own shame knowing that I don't think she has. Capacity and the skillset to be able to hold her emotions right now. And then I feel resentful that I have to think through what she needs before I can just be a child and tell her to meet me where I am for once. Right? Mm-hmm. And so then the cycle just continues and I am not sure I, I know how to get out of it. Speaker 3: Boundaries is such a like. Trigger [00:41:00] word for so many of us, right? When you hear the word boundaries, you're like, no. All of a sudden that door closes and you say, this is not something that's gonna speak to me. Because it has this reputation of being like, cut people out. Say no, protect yourself. And those narratives really don't speak to so many of us who come from collectivist backgrounds where. We want to maintain a lot of these relationships. We just don't want it to feel as bad as it does. And so disentangling and learning how to disentangle our feelings and our values from our parents is often the work I do with my clients. And it takes a long time, right? Because you are sitting down, sifting through a basically a pile of values, norms, expectations, feelings, and saying, okay, this one belongs to me. This one belongs to my mom. This one belongs to my dad. And trying to figure out. Where does that leave you, and how do we move forward and build the sense of self with things that actually feel true to you? And a lot of that work is painful. Sahaj Kaur Kohli: Trying to disentangle my definition of love from my mom's isn't the only thing that's been painful to navigate. It's also the [00:42:00] realization that so much of my upbringing fundamentally shapes the way I live today. Speaker 3: At its best, parentification can lead to having a lot of pride developing really good work ethic, being really mindful of your role in your family and leaning into that. But at its worst, it can be a form of emotional neglect. And I think that's really important because in my work with children of immigrants, a lot of times a lot of us don't realize that we have different needs when we're growing up. And sure, maybe you had a roof over your head, maybe you were, you know, sent to school, maybe you always had food on the table. And these are really. Big significant needs that were met, but were you also cared for emotionally? Were you allowed to express your emotions? Were you modeled and nurtured emotionally? So just being taught that even emotions weren't something that was safe to have. And so in that way, that's when parentification can become a sign of emotional neglect. So as by definition, parentification is taking on adult-like roles or roles that are. Older than you are developmentally at a young [00:43:00] age. And it can lead to people pleasing, it can lead to perfectionism, it can lead to constantly, um, monitoring our parents or other people's emotions or feelings. Right? Those are very common long-term consequences of being parentified children because we've never really learned how to take up space. People pleasing, Sahaj Kaur Kohli: perfectionism, hyper vigilance. Yeah. I've been dealing with all of them pretty much my entire life. One of my core memories from when I used to live in Korea was being invited to a friend's house After school, we were supposed to do homework together, and her mom sat with us going over everything and helping us out. I remember feeling so reassured, like finally someone was helping me in the way that Mamie feel safe and cared for. And because I wanted to be invited back, I was always on my absolute best behavior. I didn't want her to feel like I was being a burden or a nuisance, so I made sure to take my shoes [00:44:00] off in the neatest way possible. I made sure to wipe off any crumbs off the table, and I even offered to do the dishes. Y'all, I was barely 10, but I felt like I needed to be, liked to be helped. The truth is. I am resentful. I resent that I never got to just be a kid. I'm angry that I couldn't tell my parents that I was sad or hurt or scared. I'm angry that I thought care and attention were earned. By making myself small, likable, and pleasant. I'm angry that I couldn't allow myself to rest or stumble because I knew there was no safety net to catch me and that I thought it was easier to not want than to be disappointed. But for the first time in my life, there is something I want [00:45:00] just for myself. I want to heal desperately. I want to shed this weight so I can finally be my most authentic, free, and expansive self without needing to prove anything to anyone. I want to access the safety, abundance, joy, and ease that I didn't have as a. Child. Talking to my parents about my childhood wounds feels really hard. Not only because I'm worried about how it'll make them feel, but because deep down I truly believe that they loved me the best way they knew how so? How do I even begin to tell them that their best wasn't enough to protect me from harm? How do I share that? I feel resentful for the child that I never got to have without breaking their hearts in the process. And the hardest part, even now, I catch [00:46:00] myself prioritizing their feelings over my truth. It is like this unshakeable sense of responsibility where their comfort feels more important than my pain. How do I even untangle that? Speaker 3: You deserve joy and peace and ease. I mean, ultimately so many of us aren't able to give ourselves permission to be able to work towards joy and peace and ease. 'cause we don't believe we're deserving of it. And that is a product of, you know, these family dynamics, but also guilt and shame and not knowing the difference between those two. And then feeling like we automatically are. Bad if we aren't constantly pleasing other people. So many of us also struggle with that, uh, binary mindset. You know, if I feel this way, it's wrong. If my parents are disappointed, I'm a bad child. And that's not true. We have to learn. And [00:47:00] you have to decide at what point you're willing to accept that it might not change. And then decide what you're willing to tolerate. And that's the acceptance in grief work that is so hard and grief, I call it grief for a reason. 'cause grief never goes away. There's no resolution in grief. It's learning to build a life around it. Sahaj Kaur Kohli: Yeah, that's so real and so hard, that whole acceptance piece, right? Knowing that it's going to take time, but also that there may need to be a time where you start to accept, uh, your parents for who they are and what they have capacity for and what they don't. What's been really difficult for me is the acceptance of the reality. And my desire to heal, part of me feels like I can't heal until I get the acknowledgement, until I get the validation, until I feel seen in my entirety by my mom and by my dad. And sometimes I feel like that just sets me up for more disappointment and sense of betrayal and resentment because I [00:48:00] am not getting the very sort of human and childlike need from my parents. But knowing that that may never come, and I can't depend on that for my healing, but that's been really hard to accept. Speaker 3: I was just gonna say, that makes me really sad because I'm hearing you like deny yourself something that you deserve because you're still waiting for your parents to give you permission for it. When you can give yourself permission for it yourself, but for some reason you don't feel like you have enough agency or you're not allowed to be the one who decides I can heal. Even without my parents' acceptance. And that's a lot of the inner child like re-parenting work of like, you know, thinking about little Michelle and what she needs and how do you give it to her. How do you find power and strength in being able to be the adult who can say, fine, if you're not gonna take care of this little girl I am. I'm gonna take care of her. And it's really hard, right? And it's really painful, but. [00:49:00] It hurts me to hear you say that you won't be able to do this until you get that permission, because the reality is you may never get that acceptance and acknowledgement you're looking for from them. Sahaj Kaur Kohli: In high school, when I came out as bisexual to my dad, he just ignored it. He pretended he didn't hear me change the subject, and that was that we never talked about it again. And honestly, I was fine with that at the time. He didn't wanna hear more and I didn't want to share more. We lived under the same roof, but how much did we really know about each other? Anyway, fast forward many years later, I was on my way to a date with a woman I just met. I was on the phone with my dad and thought maybe this is a chance to let him in on my life, just a little. So I told him where I was going and casually asked, what would you do if I ever brought a girl home? I don't know what I [00:50:00] was expecting to hear, but I definitely wasn't prepared for his answer. Don't come home. He said Speaker 3: It's very challenging and I think I just recently had these conversations with a couple clients of mine where, you know, sometimes we have to ask ourselves. The greatest gift we can give people we love is letting them see us for all parts of ourselves, right? Every part of who we are. That's the greatest gift we can give someone we love. And not everyone deserves that gift, especially if they're not tending to it, nurturing it. And I see you like, as like a younger version of you, like vulnerable and raw and saying, love me, love me, love me. Mm-hmm. It's not just you, it's it's all of us. Right? We, we have these experiences. Sahaj Kaur Kohli: It wasn't until one Thanksgiving back at my dad's house that I realized just how much I did crave my dad's acceptance and love. Thanksgiving is one day [00:51:00] that we all gather at my dad's house. We ordered a Thanksgiving family meal from Boston Market that no one really likes chit chat and eat for no more than 40 minutes and migrate over to the living room to watch a movie of someone's choosing, usually me or my dad. This has been our way of bonding for as long as we started gathering. The movie that my dad, the same man who stonewalled me when I came out to him in high school, chose for us to watch, was Boy Erased a movie about a gay man's search for acceptance from himself and his family without making eye contact. He said, have you seen this? I thought you might like it. It's about a gay person. As someone who's never been interested in anything L-G-B-T-Q related, this was his clumsy way of inching closer to me. My dad didn't throw me a coming out party. He didn't wear a rainbow pin or proclaim how proud he was to be an ally. [00:52:00] There was no tearful heart to heart about acceptance, apologies, forgiveness, or unconditional love. And you know what? At that moment I realized. I didn't need any of that. Sitting side by side on that Costco couch of his, I understood exactly what his silence was trying to say. Speaker 3: And that's what happens in high context cultures, right? It's not about being direct, it's not about being explicit. It's more about what the contextual clues are. I think behaviors is where it all comes down to. So that might have been your dad's way of saying, I accept you and the way that I know how, and me watching this with you is my way of showing that in the same way that my dad. Never growing up or through my thirties, only recently started to say, I love you. But growing up I would go home and he would leave me newspaper clippings about mental health or about something I had told him about and those would be on my bed every time I would visit home. And that's, I knew, was his way of saying, I love you. [00:53:00] Right. We have the cut fruit anecdote that everyone has in an Asian household. Our mom's way of loving us is through food and by caring for us and caretaking for us. 'cause that's the role they knew how to play. I even had an interesting conversation with my mom where I've asked her, I think this was a while ago, where I asked her, what else do you wanna do? Like stop trying to do my laundry when I come home. Get out of the kitchen. We'll just order food. But then I realized it made her sad and I realized I was actually taking away her agency to love me in the way she knew how. Because that's not how I need to be loved. I've also asked my parents, did your parents ever say, I love you? When was the first time or the last time you, you heard them say that to you? What was that like for you? Oh, that must have been really sad that your parents didn't even say, I love you. You know, that impacts kids. And then using that as a frame of like. Are you thinking about how you don't do it with me? Like sometimes it takes these little kind of games before we can get to a place where we feel like we can get that conversation going. But even then, where can we find beauty in the relationship with our [00:54:00] parents? I'm sure if we, you know, really wanted to dive deep into it, we would. You would be able to think of like strengths in your relationship with your parents, ways that they do love you or see you even if it's not what you want. The way that they love you is still a way that they are showing you that they love you. Sahaj Kaur Kohli: When I think about my younger self, I sometimes find myself imagining my mom and dad when they were young, what were they like growing up? How many crushes did my mom have as a teenager? When did she start sneaking cigarettes? And what made her start? Who was there for my dad when he lost his dad as a child who told them they were loved? When was the last time someone asked them about their hopes and dreams? What did they long for? Growing up in Korea with my mom, she often told me her parenting philosophy. [00:55:00] I want us to be like friends. She'd say, she'd tell me stories about how she was always afraid of her mom, how strict my grandma was. How she never got the chance to fully explore her passions and curiosities. One day when I was in elementary school, she just said, you're not going to school today. And instead of taking me to school, she drove me and my sister to a farm outside the city. She told us real life experiences are more important than what you learn in textbooks. She didn't want us to live inside the same box. She'd grown up in. She wanted something different for us. She'd say things like, date as many men as you can before you marry. Travel as much as you can while you're young. Learn to drive as soon as you can. More than anything, she wanted us to be free freer than she ever got to [00:56:00] be. The way my parents love me and the way I love them. It's not something you'd find in some textbook. It's messy. It's complicated. It's nuanced, and it's big. It's so big. It is not the kind of love you see in those Hallmark movies where a white parents hug you and say, I love you at least 15 times a day. But I feel it. I feel it in the everyday moments, like when my mom insists on doing my laundry with her permanently sore back, or when she likes every single thing I post on Instagram. I feel it every time she sees me and says, you're so pretty with genuine awe in her eyes.[00:57:00] Michelle MiJung Kim: If you liked what you heard today, please tell your family. Tell your friends. Tell your people. Subscribe to our show and leave us a review. Sahaj Kaur Kohli: Wanna hear more from me in Sege? Watch the full interview on the I feel that way. Two YouTube channel. And while you're at it, subscribe to our newsletter on our website at www dot I feel that way. Two.com. Miko Lee: Please check out our website, kpfa.org/program, apex Express to find out more about our show. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important. APEX Express is a collective of activists that includes Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Isabel Li, Jalena Keane-Lee, Miko Lee, Preeti Mangala Shekar and Swati Rayasam. Have a great [00:58:00] night. The post APEX Express – 9.18.25 – I Feel That Way Too appeared first on KPFA.

Journalist Jeff Chang contends that Bruce Lee, the famed actor and martial arts specialist, is the “most famous person in the world about whom so little is known.” In his new biography of Lee, “Water Mirror Echo,” Chang charts Lee's rise as an action star and his impact on the creation of Asian American culture. We'll talk to Chang about his book and about Bruce Lee's special history in the Bay Area. Guests: Jeff Chang, "Water Mirror Echo: Bruce Lee and the Making of Asian America" - Chang is also the author of "We Gon' Be Alright: Notes on Race and Resegregation," "Who We Be: The Colorization of America" and "Can't Stop Won't Stop: A History of the Hip-Hop Generation" Learn more about your ad choices. Visit megaphone.fm/adchoices

In this enlightening episode of Scary Talk, Jon Lee Brody welcomes the talented filmmaker Justin Tipping. Best known for his work on acclaimed projects like 'Kicks' and 'Dear White People,' Justin dives deep into his journey as an Asian American director. They discuss his early work, including the short film 'Nani,' and his latest project, 'Him,' a sports horror movie. Listen as Justin shares his unique perspective on identity, the pressures of athletic excellence, and the horror genre. This conversation offers a revealing look at how personal experiences shape creative storytelling. Don't miss out! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Episode Summary: In this week's episode of your favorite Korean Adoptee podcast, the Janchi Boys sit down and talk about whether or not Patrick hates Korea, the role of governments (and how America's is perfect and has never made any missteps ever), and integrating Koreanness as parents.---// Support the Show!Online at janchishow.com / @janchishowSupport the show at janchishow.com/supportJoin our Facebook Group! janchishow.com/afterpartyWatch our Youtube VideosLeave a voicemail! 972-677-8867Write us a note: janchishow@gmail.comThe Janchi Show Quick BioThe Janchi Show focuses on exploring intersectional identities and current events through the lens of adoption, race, lived experience and more. Sometimes we have guests, and sometimes it's just the three of us. Either way, it's always a janchi!// Meet the Janchi Boys!Nathan NowackNathan (he/him) is a transracial Korean American adoptee who was born in Seoul in the 1970s. He was adopted at the age of 5 months old and raised in a small town in Oklahoma along with a non-biological Korean adopted sister.  After going to college in Colorado he later moved to Los Angeles to pursue a digital media career and eventually started 2 photography companies.  He loves spending time with his wife and 3 kids, playing golf, and collecting Lego. He is in reunion with his biological family as the youngest of 7 and has been in contact since 2015.  He currently serves on the Advisory Council for KAAN and helps with the planning of their annual adoptee conference.  In 2021, Nathan and his family moved back to Colorado to be closer to family and start a new chapter in their lives.  Connect with Nathan!Website: http://www.coverve.comInstagram: http://instagram.com/nnowackPatrick ArmstrongPatrick Armstrong (he/him) is a transracial Korean American adoptee, podcaster, speaker, and community facilitator. He is one of the hosts of the Janchi Show, a podcast that explores and celebrates the experiences and stories of Korean adoptees everywhere. He also is host of Conversation Piece with Patrick Armstrong, a podcast where he discusses the missing pieces of the conversations we're already having. He is a cofounder of the Asian Adoptees of Indiana, a group dedicated to creating a safe, engaging community for all Asian adoptees who need it. He is currently based in Indianapolis with his wife and cat. Connect with Patrick!Website: http://patrickintheworld.meLinkedIn: http://linkedin/in/patrickintheworldInstagram: http://instagram.com/patrickintheworldK.J. Roelke (@kjroelke)KJ (he/him) was adopted from Daegu and raised in Dallas, Texas with his two biological, older siblings and his younger sister, adopted from Russia. After spending a decade in the Midwest for college and career, he and his wife are back in Dallas and living large! He has been on his journey of discovery since 2015 and spends his days as a web developer for the Choctaw Nation of Oklahoma.Connect with K.J.!Website: https://kjroelke.online/LinkedIn: https://linkedin/in/kjroelkeInstagram: https://instagram.com/kjroelke// Listen to/Watch The Janchi Show on all major platforms:Apple: http://janchishow.com/appleSpotify: http://janchishow.com/spotifyYoutube: http://janchishow.com/youtubeGratitude & CreditsMichelle Nam for our logo and brandingJerry Won for bring us togetherThis show is created and produced by Patrick, Nathan and KJ and is the sole property of the Janchi Show, LLC.

Comedian Brittany Carney joins the Asian Friends to talk travel etiquette. Jenny and Brittany might join comedic forces. Don't worry, the audio gets better.THE FAREWELL TOUR KICKOFFhttps://littlefieldnyc.com/all-shows/F O L L O W U Shttps://www.instagram.com/asiannotasianpodhttps://www.instagram.com/nicepantsbrohttps://www.instagram.com/jennyarimoto/P A T R E O Nhttps://www.patreon.com/asiannotasianpod P A R T N E R S -Check out friend of the pod John's cabin on Airbnb! https://www.airbnb.com/slink/penXRFgl - Helix Sleep Mattress: visit helixsleep.com/asian - Nutrafol: www.nutrafol.com (Promo code: Asian) This episode is sponsored by BetterHelp. Give online therapy a try at betterhelp.com/ASIAN and get on your way to being your best self.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

A Collaboration of Indigenous Truthtelling of Boarding SchoolsThis episode features voices from a panel on the collaboration, “Indigenous Truthtelling of Boarding Schools,” held at the University of Oklahoma in August 2025 and funded by a NHPRC-Mellon Planning Grant for Collaborative Digital Editions in African American, Asian American, Hispanic American, and Native American History and Ethnic Studies. The panelists share their experiences studying Native American boarding schools and discuss plans for a digital edition with scholars at the University of Oklahoma, Oklahoma State University, Northeastern State University, Utah State University, and Indigenous communities. The project connects universities and archives with Native Nations to develop educational resources about boarding schools and to expand public access to records, oral histories, and community knowledge.This episode includes references to:Farina King, professor of Native American Studies at OU and co-host of Native Circles. A citizen of the Navajo Nation, she researches Indigenous histories, especially boarding school experiences, and collaborates on projects linking oral histories, archives, and community engagement.Sarah Milligan, head of the Oklahoma Oral History Research Program at OSU. She partners with boarding school alumni groups, including the Chilocco National Alumni Association, to digitize memorabilia, record oral histories, and create educational tools that support truthtelling and remembrance.Teagan Dreyer, Choctaw descendant and PhD candidate in history at OSU. She researches the impacts of boarding schools on Native identity and community resilience.Erin Dyke, associate professor of curriculum studies at OSU. She focuses on truthtelling, Indigenous-led education initiatives, and transforming curriculum to confront legacies of colonial schooling.Asa (Ace) Samuels, Cheyenne and Arapaho citizen of Oklahoma and first-generation OU student. He mentors Native youth in cultural practices and serves as a facilitator for Mending Broken Hearts, a healing program addressing intergenerational trauma linked to boarding schools.Kelly Berry, citizen of the Apache Tribe of Oklahoma with Choctaw relations. A postdoctoral fellow and lecturer in Native American Studies at OU, Berry is a descendant of boarding school survivors and researches histories of Indian boarding schools, including Carlisle, Chilocco, and early mission schools.Blaine McClain, head archivist of Special Collections at Northeastern State University in Tahlequah, Oklahoma. He manages archival collections related to Cherokee Nation seminaries and regional histories.Britton Morgan, undergraduate student research assistant at NSU from Muskogee, Oklahoma. He works with NSU archives, focusing on materials related to Indian boarding schools.Michelle Martin, independent scholar in Arizona and former NSU faculty. She studies the Tullahassee Mission School and the legacies of interracial marriage tied to boarding schools. Cheyenne Widdecke, master's student in anthropology at OU, specializing in archaeology. As a Graduate Research Assistant, she surveys archival collections, examines boarding school site records, and conducts oral history research with the Sac and Fox Nation.Mary Harjo, citizen of the Muscogee (Creek) Nation and boarding school alumna. She attended federal boarding schools from first through twelfth grade and later earned bachelor's and master's degrees in social work at OU. A survivor of discrimination and abuse, she became a social worker and mentor, sharing her lived experiences to inform truthtelling and healing efforts.

Homeschooling parents Essie and Hsin-Fu Wu know firsthand the importance of teaching children a history that reflects the full story of America. When they couldn't find resources to share Asian American history with their sons, they created Resilient Panda History, guides designed to help families of all backgrounds bring these often-overlooked stories into their homeschool days. In this Homeschool Conversation, Essie and Hsin-Fu join me to discuss their homeschooling journey, the surprising discoveries they've made while researching Asian American history, and why these lessons matter for every family seeking a rich, diverse homeschool education.Find show notes and full transcript here: https://www.humilityanddoxology.com/teaching-asian-american-history-at-home-resilient-pandaUse the discount code PODCAST25 for 25% off all of Resilient Panda guides, timeline, and bundles!Thank you to Podcast Season Sponsor Berean Builders. Click here for homeschool science your kids will love: ⁠https://bereanbuilders.com/ecomm/While you're here, would you take a minute to leave a rating and review in your podcast app? Send me a screenshot of your review and I'll send you a $15 gift certificate to my shop! Just email me your review screenshot at Amy@HumilityandDoxology.comJoin Made2Homeschool for exclusive content and community: HumilityandDoxology.com/M2H ⁠⁠⁠⁠⁠⁠https://www.made2homeschool.com/a/2147529243/KNcPGL3t⁠⁠⁠⁠⁠⁠Getting Started With Shakespeare Guide: https://www.humilityanddoxology.com/exploring-shakespeare-children/FREE Homeschool Planner Calendar: https://www.humilityanddoxology.com/free-homeschool-planner-calendar/FREE Homeschool Planning Guide: https://www.humilityanddoxology.com/homeschool-planning-guide/Year of Memory Work: https://humilityanddoxology.com/year-of-memory-workFollow Humility and Doxology Online:Blog ⁠⁠⁠⁠⁠⁠⁠⁠https://www.humilityanddoxology.com/⁠⁠⁠⁠⁠⁠⁠⁠Facebook ⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/HumilityAndDoxology⁠⁠⁠⁠⁠⁠⁠⁠Instagram ⁠⁠⁠⁠⁠⁠⁠⁠http://instagram.com/humilityanddoxology⁠⁠⁠⁠⁠⁠⁠⁠YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠YouTube.com/humilityanddoxology⁠⁠⁠⁠⁠⁠⁠⁠Amy's Favorites: ⁠⁠⁠https://humilityanddoxology.com/favorites⁠⁠⁠This podcast and description contains affiliate links.

In the past three months, more than 300,000 Black women have left the labor force. Economist and author Anna Gifty Opoku-Agyeman calls this the double tax—the compounded burden of being both a woman and a person of color in an economy designed to take more and give less. From higher prices for haircare and beauty products, to childcare that consumes a larger share of income, to systemic barriers in jobs, salaries, housing, and wealth—these hidden costs fall on women of color across the board. But for Black women, they are especially stark, leaving them with fewer opportunities, lower pay, higher living costs, and far less generational wealth than their white counterparts. Her groundbreaking book, The Double Tax: How Women of Color Are Overcharged and Underpaid, shows how these inequities aren't incidental—they're structural. And unless they're confronted, everyone pays the price. (00:01) The Double Tax on Black Women Black women's "double tax" in labor force discussed with author Anna Gifty Opoku-Agyeman, emphasizing solutions and self-advocacy. (07:06) Cost of Hair Emotional and Financial Perceived progress in racial equality, false sense of progress, hair burdens for Black women, generational trauma and societal expectations. (13:58) Navigating Beauty Standards as Black Women Growing up in predominantly Black and white educational environments, facing anti-Blackness and challenges in PWIs, finding representation and redefining beauty standards. (22:01) The Double Tax on Beauty Standards Representation and accessibility in the beauty industry for Black and Asian American women, highlighting the "double tax" and need for inclusive representation. (34:03) The Double Tax in the Workplace Legislation is needed to combat hair discrimination in the workplace, along with addressing white beauty standards and the "double tax" faced by Black professionals. (41:41) Power Dynamics and Motherhood Impact Proximity to power is unequal among races and genders, with white men dominating top professions and Black women facing the most barriers. (47:11) The Burden of Motherhood Motherhood's financial burden, childcare costs, Black women as breadwinners, and the impact of technology on education and employment. (01:01:19) The Cost of Womanhood Empowering women at all stages, advocating for oneself, and the cost of womanhood are discussed in a heartfelt chapter. #DoubleTax Learn more about your ad choices. Visit megaphone.fm/adchoices

In a major blow to historically Black colleges and universities, the Trump administration has cut nearly $350 million in federal funding for Minority-Serving Institution programs, including those supporting Hispanic, Asian American, and Native American students. Education Secretary Linda McMahon said the programs discriminated by restricting eligibility based on race. The move has sparked concern across higher education, raising questions about access, equity, and the future of federal support for under-resourced institutions. Subscribe to our newsletter to stay informed with the latest news from a leading Black-owned & controlled media company: https://aurn.com/newsletter Learn more about your ad choices. Visit megaphone.fm/adchoices

Fetishized is a memoir-in-essays by Kaila Yu--a former pin-up model and lead singer of the all-Asian American female rock band Nylon Pink. The book delves into her personal journey as she confronts--and unpacks--the complexities of being both the object and agent of fetishization in a media landscape shaped by stereotypes and colonial mindsets. Her memoir interrogates harmful portrayals--from geishas in Memoirs of a Geisha, to the Austin Powers twins in Goldmember, to the character in Full Metal Jacket, and even pin-up iconography figures like Sung-Hi Lee. These archetypes--and the lack of diverse Asian representation--led Yu to internalize the painful belief that sexualizing herself was her only path to perceived value or desirability. Ultimately, Fetishized is a path toward self-reclamation. It's an unflinching look at the violence of objectification, balanced with deep empathy for the fractured relationships we might have with beauty, desire, and our own bodies.

**Special note to our listeners** Love the show? Help us keep the conversation going! Become a paid subscriber through our ⁠⁠⁠⁠⁠⁠⁠⁠⁠Substack. ⁠⁠⁠⁠⁠⁠⁠⁠⁠Your contributions help us continue to make content on issues related to the Asian-American, immigrant, modern parent experience.THANK YOU to our super awesome listeners who have already signed up!---------------------------------------On this episode, we get down to the nuts and bolts of what happens to your stuff and kids after you die. Yes, we are getting into that thing that's on every parent's to-do list but somehow keeps on slipping down to the bottom: Estate Planning. :)We brought on Jenny Ling, who is founder and head of The Law Offices of Jenny Ling which has won a number of awards for their work in estate planning in the Pacific Northwest. We asked her all the questions you may be thinking but were afraid to ask: Is a will enough? Are trusts only for the uber wealthy? How will someone actually find all my accounts after I die? How do I convince my parents to do their estate planning? ... And we hear of some horror cases that she's seen to help motivate you to finally take action on this :)Important notes:- Since this episode was recorded, the Washington State Estate Tax laws have changed. The new law went into effect this month. Instead of the estate tax exemption being 2.193 million, it is now 3 million with a tax rate of 10-35%- As always, when we bring legal, medical or other experts on the show, everything we say on the episode is entirely informational and should not be construed as advice for your specific situation. Always seek out a qualified professional for your specific context and goals.

Do you mentor others?   In this episode of Women of Color Rise, I speak with Fernande (Nan) Duffly, the first Asian American Judge appointed to the Massachusetts Supreme Court.   Nan shares how mentorship played a critical role in her journey. Her mentor, Sam Adams, encouraged her to consider becoming a judge—something she hadn't envisioned for herself. At the time, there were very few people who looked like her in those roles.   Now, Nan pays it forward. She actively mentors young lawyers and students, especially those from diverse backgrounds. For Nan, mentoring isn't about formal programs—it's about real conversations. Demystify the role: Nan is intentional about helping others see that judges aren't untouchable. “I was you once,” she says. “And you could be me.” Build belief: She focuses on helping others believe they're capable and ready. It's not about who you know—it's about being prepared, having the right experience, and doing the work. Stay grounded: Nan makes space for real connection. She listens, shares her story, and lets people see the person behind the title.   Thank you, Nan, for sharing your story—and for showing how powerful mentoring can be.   Get full show notes and more information here: https://analizawolf.com/episode-110-be-a-mentor-with-fernande-nan-duffly  

The New Capes & Lunatics Ep #35 (LGY #390): Superman Smashes The Klan This episode your team of Phil, Lilith, Justin and Kristen review the 3 issue series Superman Smashes The Klan (December 2019-April 2020). Superman battles to help an Asian-American family in 1946 while dealing with new revelations about his own origins. Tune in today and don't forget to review the show on Apple Podcasts, Spotify, YouTube, and anywhere else you can!  Capes & Lunatics Links  → Bluesky https://bsky.app/profile/capeslunatics.bsky.social → Twitter https://twitter.com/CapesLunatics → Instagram https://www.instagram.com/capeslunatics/ → Facebook https://www.facebook.com/capesandlunatics → YouTube https://www.youtube.com/c/CapesandLunatics   ==================  

From MPR News, Art Hounds are members of the Minnesota arts community who look beyond their own work to highlight what's exciting in local art. Their recommendations are lightly edited from the audio heard in the player above. Want to be an Art Hound? Submit here.Queer Muslim coming-of-age on stageAnita Chikkatur of Minneapolis is an educator and theater enthusiast. She's excited for Theater Mu's production of “Maybe You Could Love Me,” a new play by Samah Meghjee.The story follows the evolving friendship between two queer Muslim women across three stages of life — childhood, adolescence and adulthood — all portrayed by the same pair of actors. Directed by Katie Bradley, the play opens Theater Mu's 2025–26 season.“Maybe You Could Love Me” runs through Sept. 28 at Mixed Blood Theatre in Minneapolis, with previews beginning today.Anita says: One of the things that I love about Theatre Mu is that it showcases the very diverse experiences of the Asian American communities in the United StatesWe need to kind of understand how diverse Asian Americans are across sort of cultures, nationalities, religion, sexuality, immigration status and so on.— Anita ChikkaturA celebration of children's literature in Red WingChildren's book author Peter Pearson of Minneapolis is looking forward to the Minnesota Children's Book Festival at the Anderson Center in Red Wing.The event gathers a wide range of Minnesota writers and illustrators to speak, sign books, and lead activities for children and families. Attendees can explore the estate's Art Barn, sculpture garden, and grounds.The events has a strong lineup this year, including Art Coulson, Justice Alan Page, Cristina Oxtra, Chris Monroe, Pete Hautman and Molly Beth Griffin.The Minnesota Children's Book Festival takes place Saturday from 11 a.m. to 4 p.m. at the Anderson Center in Red Wing.Peter says: It's just really wonderful. They have a really good lineup this year.Just a lot of really good folks, picture book all the way up to YA stuff. So there's really something for everyone.— Peter PearsonMusic on every block at Rochester PorchfestKen Simurdiak of Rochester recalls the first time he and his wife stumbled upon Porchfest, a grassroots neighborhood music event in the Kutzky Park area.Local bands perform on porches across the neighborhood while audiences stroll, bike, or bring lawn chairs to enjoy the performances. With four bands playing each hour, attendees can hear a wide variety of styles, including blues, rock and folk.Porchfest takes place Saturday from 1 p.m. to 5 p.m. in Rochester's Kutzky Park neighborhood.Ken remembers: Every hour, four bands would play, all located at different houses. And so we walked around looking for music that we liked, and there's a variety, everything from blues to rock to folk.And after that, we were hooked, and we have been attending ever since— Ken Simurdiak

Today our friends Aileen and Harpreet join us to talk about bringing your social A game to events and hangouts! We chat about what kind of events make us feel the most comfortable socially, and dive into any tips or tricks that help to set the vibes of an event. We discuss whether we actively try to set the vibes or whether we passively enhance it. Support the showFollow us on social media @eatyourcrustpod

It's not often that I'll get to introduce a guest whose moniker is “banana-brained and voice-trained”!  But joining me today is a woman who is the embodiment of quirkiness, versatility, and her own words “a bit unhinged”.  From clown noses to stage and to your favorite streaming platforms, Jo Yuan has covered a lot of ground...and that's saying something given she's been in the entertainment industry just shy of 6 years, and in voiceover for five of those years. She's made audiences laugh, cry while pondering social biases through the roles and characters she's played, whether it's in a packed house, on a TV set, or through your earbuds while narrating the Harper Collins' audiobook Counterattacks at Thirty. An Asian American actor of Chinese, Taiwanese, and Korean heritage, Jo's career spans theatre, television, voiceover, and comedy, and brings authenticity, wit, and heart to every role. She's trained in the Meisner technique, on-camera acting, clown and sketch comedy to long-form improv, as a graduate of the now defunct Second City Conservatory, in Hollywood. Her stage work includes performances at East West Players, IAMA Theatre, Artists at Play, and as a company member of PlayGround-LA. As a voice actor, Jo's credits read like a streaming guide - with an impressive list of dubbing credits, lead and recurring roles on Netflix, Disney+, Paramount+, and Amazon Prime and Nat Geo.  In 2024, Jo was named one of 24 New Digital Audio Narrators by Macmillan Audio, selected from over 350 applicants.  Jo is also a proud and active member of the Television Academy, the Asian American Theatre Artists Collective, and the century old Los Angeles Breakfast Club, to name a few.  In addition, she is my fellow Door Builder in the Building Doors VO Campaign!  From the stage to the booth, Jo's work is a testament to the power of curiosity, craft, and connection. To contact Jo, you can reach out to her via the followng: Business email Address: joyuanactor@gmail.com Business Website:  www.jo-yuan.com IG: https://www.instagram.com/itsme.joyuan/ For more information on Jo Yuan's one woman show on September 21, 2025 'Something Borrowed. Something Blue. Something Tesla. Something True.': https://app.arts-people.com/index.php?ticketing=brea For more on the Building Doors VO Campaign: https://www.buildingdoorsvo.com/ If you enjoyed this episode, make sure to follow 19 Stories wherever you listen to your favorite podcasts. It would be greatly appreciated if you gave a nice review and shared this episode well :-) To give feedback or a story idea: 19stories@soundsatchelstudios.com To listen to my demos: https://www.cherylholling.com/ To contact me for voiceover work, or to host your podcast, reach out to me at: cheryl@cherylholling.com Follow me on Instagram: @cherylhollingvo Theme Song Credit:  'Together' by For King & Country Proverbs 23:18 "Surely there is a future, and your Hope will not be cut off."

There's no such thing as a neutral reading of the Bible. Every reading is inflected by first-person experience, cultural context, history, and more. In this episode, biblical scholars Janette Ok and Jordan J. Ryan join Mark Labberton to reflect on The New Testament in Color, a groundbreaking new biblical commentary that brings together diverse voices across racial, cultural, and social locations. They share how their own ethnic and cultural backgrounds as Asian American and Filipino Canadian readers shaped their understanding of Scripture, the importance of social location, using the creeds as guardrails for hermeneutics, and how contextual interpretation deepens biblical authority rather than diminishing it. Episode Highlights “There is no such thing as a neutral reading of the Bible.” —Mark Labberton “It really dawned on me the importance of being aware of who I am, my family background, my history in the United States, all these things.” —Janette Ok “Filipinos I think are always sort of on the margins… trying to understand how Asian we really are or aren't.” —Jordan J. Ryan “Objectivity is nothing more than the fruit of authentic subjectivity.” —Jordan J. Ryan quoting Bernard Lonergan “Colorblindness is actually something that's not true… particularity is fundamental to the gospel.” —Janette Ok “It was one of the most freeing experiences that I've had because it finally gave me permission to do the thing that I'd always wanted to do.” —Jordan J. Ryan Helpful Links and Resources The New Testament in Color: A Multiethnic Commentary on the New Testament (IVP Academic) About Janette Ok Janette Ok is associate professor of New Testament at Fuller Theological Seminary. A leading scholar in Asian American biblical interpretation, she is a co-editor of The New Testament in Color and author of Constructing Ethnic Identity in 1 Peter. About Jordan Ryan Jordan Ryan is associate professor of New Testament at Wheaton College and Graduate School, and author of The Role of the Synagogue in the Aims of Jesus and From the Passion to the Church of the Holy Sepulchre. His research explores Acts, archaeology, and Filipino American biblical interpretation. Show Notes The New Testament in color and contextual biblical Interpretation “There is no such thing as a neutral reading of the Bible.” Janette's growing up in a Korean immigrant church in Detroit, carrying “the weight of assimilation.” Asian American literature, especially Bone by Fae Myenne Ng Opening our eyes to the power of articulating immigrant experience Jordan Ryan's mixed-race Canadian upbringing—Filipino mother, white father—and early encounters with Scripture through unhoused communities. “Filipinos are always sort of on the margins of Asian America.” —Jordan Ryan Contextual reading of the bible All readings are contextual, contrasting liberation theology, unhoused readers, and Western academic traditions Challenges and dangers of contextualization “The first danger is to think that we can remove ourselves from the work of textual interpretation.” Social location is not an external lens but intrinsic to the gospel. “Objectivity is nothing more than the fruit of authentic subjectivity.” Archaeology that informs contextual questions “Colorblind” readings ignore particularity and miss the incarnational nature of Scripture. Biblical authority and the living word Biblical authority as central: “It's why I teach at Wheaton College and not somewhere else.” “When we say the Bible is the living Word of God… it means it has to speak to us today.” Preachers already contextualize every Sunday; The New Testament in Color makes this explicit and communal New Testament in Color was initiated by Esau McCaulley in 2018 Preceded by works like True to Our Native Land and Women's Bible Commentary Distinctive by gathering scholars from African American, Latino, Asian American, Native American, and European American backgrounds in one volume Goal: Embody diversity without sacrificing particularity or biblical trust. Commentary on Acts, including Filipino American theology and diaspora identity “It was one of the most freeing experiences that I've had.” He traced themes of foreignness, colonialism, and God's care for the imprisoned in Acts 1 Peter and Asian American biblical interpretation, wrestling with exile, belonging, and “perpetual foreigner” stereotypes Home as central theological concern—“not everyone feels at home in the same way.” —Janette Ok Editing, diversity, and reader reception Balancing freedom with theological boundaries rooted in the creeds Diversity created unevenness, but also richness and authenticity. “The fingerprints that make it so living.” —Janette Ok Professors report the book resonates with students of color whose lived experiences often feel absent in traditional scholarship “Sometimes people don't know where to begin… I encourage my students to always consult scholars who read and look differently from themselves.” Production Credits Conversing is produced and distributed in partnership with Comment magazine and Fuller Seminary.

In this powerful episode of Asian Pacific Voices Radio, Emmy-winning actress and SAG-AFTRA leader In this compelling episode of Asian Pacific Voices Radio, Emmy-winning actress and union leader Jodi Long joins host Rasha Goel for an inspiring conversation about her lifelong mission to amplify underrepresented voices on stage, screen, and beyond. Jodi opens up about her groundbreaking career as an Asian American actress, the lessons she learned from her vaudevillian parents, and the resilience it took to navigate an industry riddled with bias. As a former Los Angeles Local President of SAG-AFTRA, she shares candid insights about fighting for equity, ageism protections, AI safeguards, and performers' rights. Now running as an independent candidate for National President of SAG-AFTRA, Jodi reflects on what it means to lead with integrity and why empowering every performer to own their unique story is at the heart of great acting—and lasting change.    

Water Mirror Echo is Dr. Jeff Chang's ambitous and deeply empathetic cultural biography of Bruce Lee that goes beyond myth, revealing the man behind the legend while tracing how Lee's life helped shape the emergence of Asian America. Chang's storytelling deftly intertwines Lee's personal narrative with broader social currents--highlighting Asian American student activism, racial solidarity, and cultural resistance. By drawing from in-depth interviews, newly released personal papaers, and rare family photographs, Chang is able to pierce the iconography and reveal Lee's complexity--his vulnerabilities, perseverance, and influence. And by humanizing Lee, Chang reframes him as a creator of cultural identity, not just an action hero. Chang delivers more than a portrait of Bruce Lee--he offers a meditation on identity, visibility, and the shaping of Asian American culture. Lee's life becomes a lens to explore how individuals and symbols can birth movements, challenge stereotypes, and redefine belonging. His book will be available for purchase on September 23, 2025.

Send us a textIt's conversations like this that make us remember why we are still here after 12 years and over 800 episodes. Filmmakers/activists/return guests Julie Cohen, and Ramona Diaz join us to discuss the intersection between art and activism, and how important it is for us to stay engaged. Ramona, who grew up under Marshall Law in the Philippines, shares how what is happening in the US feels very familiar to her, and Julie discusses how she's found a way to fight back with her community in her own backyard. They share why they decided to join forces, and some examples of what's bringing them joy in these tough times. Then we end the episode with our newest segment, This Bitch, and you won't want to miss their inspirational answers. Prior Bitch Talk episodes with Julie Cohen: Episodes 272 RBG, 524 My Name is Pauli Murray, 625 Julia, 686 Gabby Giffords Won't Back Down, 751 Every Body, 826 The Path ForwardPrior Bitch Talk episodes with Ramona Diaz: Episodes 483 A Thousand Cuts, 785 And So it BeginsFollow filmmaker Julie Cohen on IGFollow filmmaker Ramona Diaz on IGSupport the showThanks for listening and for your support! We couldn't have won Best of the Bay Best Podcast in 2022 , 2023 , and 2024 without you! -- Fight fascism. Shop small. Use cash. -- Subscribe to our channel on YouTube for behind the scenes footage! Rate and review us wherever you listen to podcasts! Visit our website! www.bitchtalkpodcast.com Follow us on Instagram & Facebook Listen every Tuesday at 9 - 10 am on BFF.FM

Episode SummaryErin and Rachel wallow through an elderly man's grief journey with Pixar's critically acclaimed Up (2009). They argue the beautiful art and cute sidekicks aren't enough to redeem this (admittedly beloved) film, especially since the (admittedly moving) love story invokes the classic “dead wife” trope. We'll keep sailing our balloon house onto the next one, please and thank you. Episode BibliographyAdler, S. (2008, August 7). 'Up' And Coming: 3-D Pixar Movie Tells A 'Coming Of Old Age' Story, Director Says. MTV. https://web.archive.org/web/20100318060539/http://www.mtv.com/movies/news/articles/1592302/story.jhtmlThe Associated Press. (2009, May 12). Q&A: Pete Docter. The Hollywood Reporter. https://www.hollywoodreporter.com/business/business-news/qampa-pete-docter-83783/Berardinelli, J. (2009, May 26). Up (United States, 2009). ReelViews. https://www.reelviews.net/reelviews/upBlock, A. B. (2009, November 17). Anatomy of a Contender: ‘Up'. The Hollywood Reporter. https://www.hollywoodreporter.com/business/business-news/anatomy-contender-91440/Brooks, X. (2009, March 19). Curtain will go Up on this year's Cannes with 3-D yarn | Cannes 2009. The Guardian. https://www.theguardian.com/film/2009/mar/19/up-first-animation-to-open-cannes-film-festivalChen, D. (2009, May 28). Marketing Up's Asian-American Lead Character. SlashFilm. https://www.slashfilm.com/503927/marketing-ups-asian-american-lead-character/Coconut Press. (2023, August 16). The Making of Up: Pixar Travels to Venezuela 4k. YouTube. https://www.youtube.com/watch?v=jXCHlcrMgLYCorliss, R. (2009, May 7). Going Up. TIME. https://web.archive.org/web/20090513203932/http://www.time.com/time/arts/article/0,8599,1896685-1,00.htmlCorliss, R. (2009, May 28). Up, Up and Away: Another New High for Pixar. Time Magazine. https://time.com/archive/6688401/up-up-and-away-another-new-high-for-pixar/Docter, P. (Director). (2009). Up [Film]. Pixar Animation Studios.DVDFilmBonus. (2023, July 16). Up 2009 ( Pixar ) Making of & Behind the Scenes. YouTube. https://www.youtube.com/watch?v=hPQuzPm73foErikson E.H., & Erikson, J.M. (1982). Life cycle completed. W.W. Norton & CompanyFreer, I. (2009, October 3). Up. Empire Online. https://www.empireonline.com/movies/reviews/movie-2-review/Hartlaub, P. (2009, May 27). Oakland's Fentons Creamery in Pixar film 'Up'. SFGate. https://www.sfgate.com/entertainment/article/Oakland-s-Fentons-Creamery-in-Pixar-film-Up-3297072.phpHauser, T. (2016). The Art of Up. Chronicle Books LLC.Hogan, R. (2009, June 1). Pixar's Up review. Den of Geek. https://www.denofgeek.com/movies/pixars-up-review-2/Horn, J. (2009, May 10). up, up and away. Los Angeles Times. https://www.latimes.com/archives/la-xpm-2009-may-10-ca-up10-story.htmlHornaday, A. (2009, May 29). Up. The Washington Post. https://web.archive.org/web/20091027073954/http://www.washingtonpost.com/gog/movies/up,1156226.htmlKhoo, I. (2015, July 13). Pregnancy Loss: The Surprising Movie That Understands Miscarriage. HuffPost Canada. https://www.huffpost.com/archive/ca/entry/pregnancy-loss-the-surprising-movie-that-understands-miscarriag_n_7786224King, S. (2009, May 28). Jordan Nagai, 'Up'. Los Angeles Times. https://web.archive.org/web/20121106123435/http://articles.latimes.com/2009/may/28/entertainment/et-jordanpete28The Korean Face of Pixar's Latest Star. (2009, June 3). The Chosun Daily. https://www.chosun.com/english/people-en/2009/06/03/NXQOOEMZNUTRQNAZ7NTDTTGBUU/Ksieh, K. (2009, May 29). Jordan Nagai as Russell in UP. Channel APA. https://web.archive.org/web/20121110102130/http://www.channelapa.com/2009/05/jordan-nagai-as-russell-in-up.htmlMedia Action Network for Asian Americans. (2009, September 2). ASIAN AMERICAN MEDIA WATCHDOG GROUP PRAISES DISNEY/PIXAR'S "UP" FOR CREATING ASIAN AMERICAN PROTAGONIST. MANAA. https://web.archive.org/web/20090902105114/http://www.manaa.org/up_press_release.htmlMeinel, D. (2014). 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Asians and Asian Americans are numerous within the classical music industry, but their identities are often politicized and racialized in this Eurocentric musical genre. For the third episode of Obbligato on APEX Express, Isabel Li discusses this intersection with Mari Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music (2007) and Dearest Lenny: Letters from Japan and the Making of the World Maestro (2019). Tonight's episode features music by Chinese American composer Zhou Tian. To learn more about Mari and her work, please visit her website: https://www.mariyoshihara.com/index.html  Musicians from a Different Shore: https://tupress.temple.edu/books/musicians-from-a-different-shore-2 Dearest Lenny: https://global.oup.com/academic/product/dearest-lenny-9780190465780?cc=jp&lang=en&  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.    00:00:53 Isabel Li  Good evening. You're listening to KPFA 94.1 FM. My name is Isabel Li and I'm delighted to be hosting a new edition of Obbligato on Apex Express, which is a semimonthly segment specifically about AAPI identities in classical music. Tonight's guest is someone I have been incredibly excited to speak to because her writings have actually very much informed my studies and research. In fact, her books are exactly about the subject matter of Obbligato. I am honored to be speaking to Mario Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music, published in 2007, and Dearest Lenny: Letters from Japan and the Making of the World Maestro, which was published in 2019. Welcome to Obbligato on Apex Express. Mari, how are you doing?  00:01:55 Mari Yoshihara  I'm doing fine. Thank you for having me.  00:01:58 Isabel Li  Of course, my first question for you is how do you identify and what communities are you a part of?  00:02:06 Mari Yoshihara  Oh well, that's actually a little bit complicated I am. I am a Japanese woman who have spent a little bit over well, maybe not more than a little more than half of my life in the United States. Born in New York but raised in Tokyo, educated mostly in Japan, but also earned my graduate degrees in the United States and most of my academic career has been in Hawaii, so I've been in American academia for almost 30 years now, but I also have a dual appointment with the University of Tokyo in Japan. So I split my time between Japan and Hawaii now.  00:02:54 Isabel Li  Can you tell us a little bit about your work and your books? I had a chance to read Musicians from a Different Shore, but how would you summarize your research to someone who might not have read your book?  00:03:04 Mari Yoshihara  So I am a scholar of American studies, which is an interdisciplinary field that has anything to do with America broadly defined. And within that, my area of expertise is about, well, I would say I'm a scholar of US cultural history. US Asian relations, mostly US, East Asian relations, especially in the cultural dimension, cultural studies, gender studies, Asian American studies, etc. And so I have written a number of books, both in English and Japanese, but the one that you're referring to, Musicians from a Different Shore, is a book that I did research for more than 20 years ago and was published in 2007. It's a study of Asians and Asian Americans and classical music. So it was partly historical in that I examined the ways. which Western music, so-called western classical music, was introduced to East Asia and how also East Asians became have become so successful and prominent in this field that is generally considered a white European elite art form, so it was partly historical, but then the rest of the book was based on my ethnographic field work and interviews among Asians and Asian Americans in classical music looking at how well who these people are in the first place and then also how musicians, Asian and Asian musicians themselves, understand the relationship between their racial and cultural identity on the one hand, and their practice of Western classical music on the other, so that was my study.   And then I also wrote another book called Dearest Lenny. It's about—the subtitle is Letters from Japan and the Making of the World Maestro. It's about Leonard Bernstein's relationship with two very special individuals in Japan. And through that story, I interweave an account of various things. For one thing, how Leonard Bernstein became a world maestro and also the relationship between politics and arts, gender, sexuality, art and commerce, etcetera, etcetera. So that was my most recent book published in English and then, I'm sure we'll talk more about this, but I'm currently doing a follow up research on the on Musicians from a Different Shore, taking into account all the changes that have been taking place in the classical music industry in the United States in the past, I would say five years or so especially so that's my that's the abbreviated version of my research.  00:05:55 Isabel Li  That's really cool, and I also want to ask you about these changes, if you can talk a little bit about the classical music world. I feel like classical music is one of those genres that seems to be unchanging on the outside. But as a scholar of classical music, what types of changes have you observed that has influenced how AAPI identities play into this world?  00:06:18 Mari Yoshihara  Yeah, I think especially in the last, I would say, yeah, 5 to 10 years, especially in the last five years, classical music industry in the United, I mean I say specifically in the United States because I don't see the similar kind of changes taking place in Japan where I'm currently located. And I also don't really know the situation in Europe. But the field of classical music in the US is changing. I think most significantly because of movements like the Black Lives Matter movement and also with the onset of COVID and the rise of anti Asian hate, there's been a lot more heightened awareness about how issues of race and also class shapes classical music. So there's a lot more vibrant conversations and debates about these topics in the industry and also in terms of AAPI community, are the biggest changes, the biggest change I'm seeing is that Asian and Asian American musicians themselves are being a lot more vocal and active in issues of race and racism in the field and there I've encountered many Asian and Asian American musicians who have, for instance, you know organized events or organizations, or taken up various forms of advocacy and activism on these issues. So compared to, say, 20 years ago, 20, 25 years ago, when I was doing the original research, I see a lot more kind of, you know, explicit awareness and awareness and articulation of these issues by Asian and Asian American musicians themselves.  00:08:12 Isabel Li  That's really interesting. Just because classical music is also one of those genres, that doesn't seem like a genre that most people explicitly associate with politics or activism. What are some examples of these, like activist movements that you've observed within the Asian American community in classical music?  00:08:32 Mari Yoshihara  So for instance, some Asian and Asian American musicians are are becoming a lot more vocal about the actual like racism or sexism that they have themselves experienced, or that they witness in the industry, like in in schools, conservatories, orchestras, opera companies, etc. Either through the media or you know their own writing, and also like speaking up within the organizations that they work in. So that's one. There are other kinds of advocacy and activism in that they demand more diverse repertoire, and I think the repertoire is in terms of the industry industry changes. That's the area that's changing the most, the the kind of repertoire that many orchestras for instance perform have become a lot more– I mean overall it's still very white, European centered– but in terms of the actual numbers of pieces that are performed, works by living, composers and composers of color, women composers, etcetera. That is significantly increased in the last 10 years and that is, you know significantly to do with the advocacy and activism on the part of, you know, artists of color.  So yeah, so things like that and then, you know, many Asian, Asian American artists are doing their own programming, for instance, like event organizing programming. So yeah, those are the areas that I see changes. I see things happening that I didn't see 25 years ago.  00:10:20 Isabel Li  Definitely. I remember reading your book, and your book has been published since 2007, so a lot of changes have happened since then. But in general, when you did your research at first, what how would you summarize the dynamic of Asian identities, Asian American identities in this very Eurocentric field, it's a juxtaposition of two different cultures and identities that a lot of people also observe in orchestras. There's a large population of Asian and Asian American musicians, conductors just in general. It's a very large population, but yet this identity is still not quite represented in media. It's not quite seen, so talk to us a bit about this juxtaposition and how you observe these dynamics in your research.  00:11:10 Mari Yoshihara  Yeah. So. The thing is, Asians and Asian Americans are indeed numerically overrepresented in classical music, in the sense that compared to the general public, the the the proportion of Asians and Asian Americans in the overall US population, the number of Asian and Asian Americans in classical music indexed by things like the student body at major conservatories or membership roster of US orchestras, etcetera, Asians and Asian Americans percentage is higher than the general population, right. So in terms of the numbers, Asians and Asian Americans are, quote unquote overrepresented. But those numbers are not reflected in the actual like voice, power and influence that they have in the industry.   So that was my finding back 2025 years ago and I think that's still true today. Also, the thing about Asian, Asian American musicians is that it's a racialized category. They are seeing and treated as Asian. It's this racial category. But their identities and experiences as Asians is not at all uniform, right?   Some of these Asian musicians are Asian Americans, like multi generational Asian Americans whose parents or grandparents or great grandparents etcetera have come to the United States and they themselves are U.S. citizens. So that's one group.   Many Asian musicians working in the United States are people who were born and raised in Asia, places like China or South Korea, Japan, etcetera, and came to the United States as international students to study music, often at the college level, college conservatory level, so obviously these people have very different sense of identity and experience as Asians compared to say, you know 3rd, 4th generation Chinese Americans or 1.5 Korean Americans.   There are other people who live in the United States because they were very talented, very young musicians, and the whole whole family immigrated to the United States specifically for their music education. So Midori, the famous violinist, Midori is a case, example of this, but there are also a number of other, especially among Koreans and Chinese. There are families, the whole family immigrated to the United States when the child was a very promising musician at age 7 or something. So that's one group. They too have a different sense of identity and experience of Asians than the two former groups that I that I talked about.   There are other people who also came to the United States because not because of the music education, but because of their parents' profession, for instance. And they have transnational kind of family ties and you know, they move, they go back and forth between US and Asia, for instance. And then there are also mixed roots families where one parent is Asian and the other is non Asian.   And then there are also Asians who were born and raised in Europe for other parts of the globe and then came to the United States, for either personal or professional reasons.   So in other words, they're all Asians in terms of their racial identity. But what that means is really quite diverse and their experience as Asian and Asian American musicians is also quite diverse. So it's not as if you know, just because they're Asian, they share some kind of experience and identities around which they coalesce. So that's, you know, that was true 20, 25 years ago. And I think that's still true today.  More and more Asian musicians are coming to the United States to study, study or work in classical music, but especially because of this, like new influence, this Asian category is becoming even more diverse. However, because of the COVID, you know the rise of Anti Asian hate during the COVID pandemic, I think that heightened the awareness of, you know, these different kinds of Asians, the heightened awareness that they are Asians. First and foremost, you know, in, in that in the sense of being racialized in the United States. So I have talked with a number of musicians, Asians and Asian American musicians, who did not really, hadn't thought about their Asianness before. It wasn't at the forefront of their identity before, but during this rise of anti Asian hate it they became they basically became more politicized. You know, they had quite a politicized language and awareness to think about race and racism especially against Asians and Asian Americans.  00:16:31 Isabel Li  Yeah, that's a great point. It is a such a diverse group and there are so many different identities, even within just the Asian American framework AAPI, as a label is very, very diverse. And that applies to classical music as well. But I think there's also this social perception of Asian and Asian Americans as a group that also relates to the model minority stereotype that's historically been present and, for example, a lot of people might think of, like a young Asian or Asian American musician as being like a prodigy because they are technically skilled at their instrument, where like these social perceptions that exist both in media and in the culture around us, why do you think that is?  00:17:15 Mari Yoshihara  Well, that as you said, there is a model minority myth and there is a stereotype of Asians and Asian Americans as being very studious and diligent, but also quiet, right? I mean, they just quietly follow, like, obedient, obediently follow the instructions and that translates in the field of music as the stereotype that Asian musicians are technically very proficient but artistically non expressive. I mean, that's a very common stereotype that yeah, you know, practically any Asian, Asian Americans in classical music have been subjected to, you know, quite regularly and frequently. And I think that, yeah, that just comes with the overall kind of racial stereotype of Asians and Asians and Asian Americans in American society at large. And also the fact that, you know, classical music, especially in terms of instrumental performance, it is an area that is, it's something that is, indeed, technically very demanding, right? You need many, many years of disciplined training and a lot of practice. And there is a myth of merit– well, no, not entirely a myth– but there is this this very, you know, dearly held faith in meritocracy in classical music. The idea that if you have the chops you will be rewarded, you will be recognized and you know, no matter what kind of great artistic idea you might have, if you can't play the notes, you can't play the notes. That kind of ethos of meritocracy is particularly strong in classical music because of the technical demands of the genre, and that and that kind of, you know, goes hand in hand with the model minority methods for Asian Americans.  00:19:20 Isabel Li  Definitely. That's really interesting and another part of your book that was quite fascinating to me when I first read it was chapter 3. You talked about the intersection of gender as well as, you know, racial identity in classical music. The chapter is called Playing Gender and you talk about, I think at large don't necessarily associate classical music with a discipline that provides a stable job. It is an art form and there is kind of an uphill battle for artists in a sense like a starving artist myth there. We're not even a myth. Like if there's a starving artist image, whereas the image of a very successful classical musician there's this duality that you also mentioned in one of your other chapters about class. So what really interested me in for this chapter was that there was this intersection of power in classical music of who would go down the path that might not be traditionally as successful. How do you think gender dynamics play into this and how do you think they might have shifted within the last two decades or so?  00:20:20 Mari Yoshihara  Huh. I'm not sure if it has shifted all that much in the last two decades, but as you said, because music I mean, not just classical music, but music. Like, you know, arts in general is a field that is very like economically insecure in terms of career, right?   But at the same time. Classical music is associated with kind of, you know, bourgeois identity and just kind of overall cultivation and so, many Asian, Asian American parents are very eager to send their kids to, say, piano lessons, violin lessons, cello lessons, etcetera. To, you know, give them a well-rounded education and also because it is considered useful tool, you know, when you're going to college and stuff like, you know being, you know, being able to show that you're very talented violinist, for instance, is believed to help your college application.  So there's this, you know, both stereotype and reality that like, you know, places like Julliard Pre-College, very competitive, you know, school, like music education program for kids is filled with Asian, Asian American, you know, students and their parents who are waiting, waiting for them to come out of school.   So there's that. But how gender plays into this is that while both men and women are do study music at a young age. When it comes to, you know, choosing say, college, like what they would, what they would pursue at the college level, far fewer male students tend to choose music as their college major or go to conservatory and pursue it as a as a career. But I think it's both their own choice. And also especially for Asian and Asian Americans, like parental pressure to not pursue music professionally because of, you know, financial insecurity.   So there's that, and also how that plays into the actual experiences of Asian, Asian Americans musicians who do study music is that I have heard from a number of female Asian musicians that either their peers or especially their teachers are doubtful that they are actually serious about music. There is a stereotype that, you know, say for instance, Japanese or Korean female students at Juilliard School, Manhattan School or whatever, they are there because they, you know, they want to study music and then find a good husband and marry, you know, a lawyer or doctor or engineer or something. [laughs] And and not that that doesn't happen. But that's a stereotype of, you know, that's a racialized and gender stereotype that comes from these, you know, gender and class and racialized dynamics.  00:23:35 Isabel Li  And just for clarification, is the classical music world at large still a male dominated field?  00:23:41 Mari Yoshihara  Yes. Oh yes. Definitely. I mean, it depends on the segment of you know, I mean classical music is itself quite diverse. So if you look at, for instance, the string section, especially the violin section of the New York Philharmonic for instance, you will find that like, I think the majority of those violin players are Asian women, perhaps. But if you look at say for instance, the Faculty of Conservatories or music directors and major orchestras and said, I mean still very male dominated.  00:24:23 Isabel Li  Yeah. Yeah, definitely. I like how your book also has so many different layers for each chapter. So Chapter 3 was about the gender intersection with this, with this identity, and Chapter 4, was it Chapter 4, I believe it was about class, Class Notes, and you've already mentioned a little bit about how class plays into the perception of music, how class influences gender even. But there's a statement in there that you said that, “it's misleading to characterize Asian musicians as just coming from the upper middle class.” And it makes sense that people would think of musicians coming from this economic bracket, because classical music is an in and of itself a very kind of expensive undertaking. You need so many lessons, so many instruments. But tell us why this statement would be misleading.  00:25:15 Mari Yoshihara  Because I mean, first of all, most of the overwhelmed, I would say overwhelming majority of the Asian, Asian American musicians that I interviewed come from middle class backgrounds, many of them from so-called like professional executive class backgrounds in, meaning that their parents hold these professional executive positions, right. And that's why they were able to afford advanced musical studies from a fairly young age. They need, you know, sustained and disciplined and often costly, you know, lessons, you know, competitions, etcetera, auditions, travel, etcetera. So that's for sure, yeah.   At the same time, there are also Asian musicians who come from less privileged backgrounds, you know, immigrant families who have, because quite a few. I mean overall Asian American population, many immigrants experience downward social mobility upon immigrating to the United States because of, you know, oftentimes linguistic barriers or you know, or plain old racism. And so you're not Asian families that immigrate to the United States, like, for instance, if the parents have professional positions back in South Korea, oftentimes they become, you know, for instance, you know, small business owners and they experience downward social mobility. I mean, that's a very common scenario. Yeah, so now all Asian, Asian American musicians grow up in a privileged environment.  00:27:06 Isabel Li  Definitely a great point. Now before we move on to some discussions about Mari's research. First of all, thank you for tuning in to Obbligato on APEX Express, we'll be taking a short music break and as mentioned earlier, a great way to increase diversity within classical music is to uplift works by living composers. If you're listening to my first.  00:27:26 Isabel Li  Episode 2 months ago, you'll know that I featured music by Chinese American composer Zhou Tian. I'm happy to say that coming up next is one of Zhou's compositions inspired by a trip to Italy. This is a piece called Hidden Grace performed by the Formosa Trio.  27:45 – COMP MUSIC – Hidden Grace  00:35:34 Isabel Li  That was a piece called Hidden Grace, composed by Zhou Tian for a fascinating instrumentation of flute, Viola and heart coming up for our second piece. In this interview, break another movement by Zhou Tian, the third movement of his double concerto for violin and Viola, called Rendezvous.  35:58 – COMP MUSIC – Double Concerto for Violin and Viola, III. Rendezvous  00:41:09 Isabel Li  Noah Bendix-Balgley on violin, Shanshan Yao on viola, and the Hangzhou Philharmonic, playing the third and final movement of Zhou Tian's Double Concerto for violin and viola. So back to the conversation with Professor Mari Yoshihara.  00:41:25 Isabel Li  As you also mentioned before, you're working on an updated version of Musicians from a Different Shore. Can you talk–I don't know how much you can talk about your, like upcoming projects, but are you using similar research methods to what you've done before using ethnographic field work? You've mentioned the new changing dynamics of classical music in the United States with new waves of activism and awareness. What are some new topics of your chapters that you might focus on? So for your 2007 publication, you talked about your gender and class and how these intersect with identity. Are there any new things that you're drawing upon here?  00:42:02 Mari Yoshihara  Yeah. So I'm using basically the same research method. I'm interviewing actually some of the same people that appeared in Musicians from a Different Shore. Some people kept in touch with over the years, I've gone back to them and interviewed them to see the trajectories of their careers since the first time I interviewed them. But then I've also interviewed a bunch of other, you know, new musicians that I'm speaking with for the first time. So it's essentially an interview and ethnographic fieldwork-based research.  I told you earlier about I think one of the biggest changes is, as I said before, the activism and advocacy on the part of Asian, Asian American musicians themselves. So I have one chapter about that. Like, what? How? What kinds of advocacy and activism they're engaged in.   Another big change that I'm seeing is that compared to 20 years ago, there are a lot more Asian musicians in the field of opera.  00:43:01 Isabel Li  Ohh yeah.  00:43:02 Mari Yoshihara  Uh. Both as singers. Yeah, many of them singers, but also in other, you know, like for instance opera, you know, pianist for opera or be opera directors, et cetera. There are many more Asians in this particular field than what I saw 20 years ago. And I talked about this a little bit in my first book, but opera is a very particular kind of field within classical music.   How race plays into opera is very different from other areas of classical music because it's a theatrical art form. It's visually oriented, you know art form. And because singers have to be cast in order to, you know, sing on stage. So the racial politics in opera, you know, unfolds very differently from, say, for pianists or cellists or conductors or or composers.   So I now have a whole chapter about opera, especially Madame Butterfly, that this very fraught work, you know, opera that many Asian and Asian Americans have love hate relationships. A lot of pigeon-holing that happens in that through that opera. But also, production of new opera by Asian and Asian American artists, composers, directors, singers, etcetera. So I have a whole chapter about that.   And then I also will have another chapter about, you know, what it means to, you know, sit at the table, basically. Like stand on the podium and sit at the table, stand on the podium. Not only, I mean I will, I will have a whole discussion about Asian and Asian Americans conductors, but not only in that literal sense of, you know, standing at the podium, but like being at the table like in other words, not only, Asian and Asian American musicians playing music that are given to them and they are assigned to them that they're hired to play, but also having a real voice in the organizational and institutional dimensions of classical music industry. So the kinds of people, Asians, who are in these positions more executive positions with decision making power what their experiences are like. I'm going to have a chapter about that.   So those are some of my ideas. I'm still in the middle of the project, so I can't. I can't see the whole picture, but those are some of my current ideas.  00:45:48 Isabel Li  I see. And do you have an idea of when this book will be published or an updated version?  00:45:54 Mari Yoshihara  Well [laughs], my goal rather ambitious goal is to have it published in 2027, because that would be 20 years since Musicians from a Different Shore, so that would be ideal if I can make that.  00:46:08 Isabel Li  Well, yeah. Nice. That's really exciting, definitely. I will also kind of bridge, I guess my part of the research into this part of the interview, since I'd love to talk to you a little bit more about how classical music in general is portrayed in media.   So as I've introduced myself before, I had a back, I have a background in media studies as well as music history and theory. And what was really interesting to me in my senior thesis while I was doing research for that was I coined this term and it could just be loosely associated with the genre of film. But it's the “classical music film.” So think of any narrative fictional film you can think of with a classical musician in there. So it could be like Amadeus, where I think of like Tár. If you watch Tár like a lot of these depictions are quite understandably white and European, but they my senior thesis I've never really seen any depictions of Asian American or Asian classical musicians? I was wondering if you have ever watched a film like that, or could maybe talk a bit about maybe the lack of representation in media, how media plays into how people perceive classical music as a genre as a whole.  00:47:23 Mari Yoshihara  That is a very interesting question. I think you know, because of the stereotype of Asian and Asian American model minority and model minority stereotype often is associated with, you know, violin or piano-playing Asian American kids, I think. Asian, Asian American characters who are, you know, these kind of musical classical music geniuses appear here and there. But the ones that center on such a character as the main, you know, like the protagonist, come to think of it, I'm not sure if I've seen. I mean, I've seen several Korean dramas, you know, character, but those are Korean dramas, not Asian American, so more American works with Asian classical musicians…  00:48:21 Isabel Li  And I think also classical music as a genre is. It's interesting because classical music is also kind of underrepresented. It's not quite in the mainstream. And then one of my final questions for you is I do also want to take a second to acknowledge that your book was actually one of the only books that I could find about this topic. I think there are not that many other books about Asian and Asian Americans in classical music. I think there are a few other books and a few and definitely some papers that talk about this, but what got you interested in this field? And I don't know if you think there's a scarcity of information, but do you think there's relative scarcity of information about this topic?  00:49:01 Mari Yoshihara  Yeah. So how I got into it is. So I was a pretty serious student of piano when I was a child. That's like, yeah, that really kind of preoccupied my childhood and adolescence. But then I, for various reasons I ended up not going to a music Conservatory and became an academic.   And then once I entered academia and became a scholar of American studies, all I was studying was like race, gender, class. I mean, that's what  we do in American studies. And my first book, which was originally my doctoral dissertation, was a cultural history of orientalism and white women. So that was a study of the intersections of race and gender and to some extent class in American history.   So once I finished that book, I was thinking about what projects to work on next. And I happened to turn on the TV, and it just so happens that the Vienna Phil New Year's concert, conducted by Seiji Ozawa was playing on the TV and that was sort of my “aha” moment because I had always known or, you know, kind of generally aware that Asians and Asian Americans are, if not necessarily overrepresented, but, you know, they're quite numerous, you know. They're present. Their numerical presence is quite notable in classical music that is often associated with white, you know, European culture, elite culture.  So I was kind of curious about that phenomenon, but I hadn't really thought too much about it until I watched Seiji Ozawa were conducting the Vienna Phil. And that's when I thought, well, maybe I can kind of combine my classical music background and my academic training in studies of race, gender, class into this project. So that's when I decided to work on. You know, this topic of Asians and Asian Americans, classical music.  I think the reason that there hadn't been at least a book-length study on the topic until my book is that for one thing, classical music is considered to be kind of a very abstract absolute form of music. This ethos that it is kind of transcends– that it is a universal, transcendental kind of genre, that is sort of above things like politics or race or gender. Like it shouldn't matter that these, you know, individual identity, racialized gender identity shouldn't matter vis-à-vis the universalism of classical music. I mean that kind of ethos is very strong in this particular genre of music. I think that has a lot to do with it.   And also the study of classical music until rather recently, like musicological study of classical music, really tended to be focused on the study of composers and their works, right? It was the textual that, like it, was an analysis of Beethoven Symphony or, you know, Bach Fugues, etcetera. Yeah. It was really focused on the study of the score, the study of the composer's ideas, as reflected in the score, I mean that was the centerpiece of musicological approach to classical music.  And so sort of more sociological anthropological study of the musical practice is a relatively new approach in in the field of musicology. I'm not a musicologist. So that's not how I'm trained. But I think the academic approach to classical music was not very, kind of, open to the kinds of topics that I raised in Musicians from a Different Shore.  00:53:12 Isabel Li  Definitely. I see. And my very final fun question for you is can you name three of your favorite classical music pieces for any recommendations you have for the audience who might be listening, who might be wondering what they will listen to next?  00:53:27 Mari Yoshihara  Well, OK well. Pieces well, because I wrote a book about Leonard Bernstein. I mean, I ended up– I wrote a book about Leonard Bernstein. Not necessarily because I was an avid fan of Bernstein. It just kind of happened this this project. But nonetheless of while I was doing research and writing the book I did listen to a lot of Bernstein. I and I have come to really love Bernstein music and so. And you know, of course, everybody knows West Side Story, but he actually wrote many other pieces that may not be as well known.   Well among the pieces that I like, I like…which one should I choose? I will choose. Ohh well, I'll choose a piece that I learned myself as a pianist.  I learned the piece called “Touches” that he wrote. It was a commission piece for the Van Cliburn International Piano Competition, and it's kind of yeah, it's a chorale and variation. So that's very interesting and very interesting and very Bernstein-esque so well.   I'll OK, as an American study scholar. I'll, I'll stick with American pieces. I like someone Barber a lot. I like Barber “Excursions,” which I also learned to play.  00:55:04 Isabel Li  Yeah.  00:55:09 Isabel Li  Tough question.  00:55:11 Mari Yoshihara  Umm, Mason Bates piece that I also learned, “White Lies For Lomax.” This one was also, I believe…was it commissioned by the Cliburn? But no, maybe it wasn't. Yeah, I think it was commissioned. But anyway, I played it at the Van Cliburn International– the amateur competition of the Cliburn competition.  I did all these. So like Bernstein, Bates, Amy Beach piece I also played. Yeah, I'll stop there. I I wish you had prepped me for that then [laughs]–  00:55:42 Isabel Li  Oh my gosh. Great responses.  00:55:46 Mari Yoshihara  Hard to think on the spot.  00:55:47 Isabel Li  Yeah, I totally get that. Whenever people ask me for my favorite composer, I never have an answer. No, so I totally get it.   Well, thank you so much for your time, Mari. And thank you for your wonderful insights. I'll put the link to your books so that people can learn about your works on APEX Express on kpfa.org. So thank you so much for your time, Mari.  00:56:07 Mari Yoshihara  Thank you.  00:56:09 Isabel Li  As mentioned, please check our website kpfa.org to find out more about Mari Yoshihara, her scholarship, and links to two of her books. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world. Your voices are important.  00:56:31 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA  for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 09.04.2025 – Obbligato with Mari Yoshihara appeared first on KPFA.

What happens when we confront the ways we've perpetuated stereotypes?Kaila Yu joins me to discuss her raw, unflinching journey from pin up girl and import model to memoirist.Kaila's memoir "Fetishized" emerged from the aftermath of the Atlanta spa shootings, forcing her to reckon with her own relationship with Asian fetishization. With remarkable candor, she reveals how she initially welcomed the attention that came with being an "exotic" Asian American woman after feeling invisible during her youth. "Getting older and discovering there are people who like us, it's like a compliment at first," she explains, before describing how this validation ultimately became a trap.Her memoir weaves in fascinating historical context, exposing how military occupation and media stereotypes created the dual images of Asian women as both submissive geishas and dangerous dragon ladies. And Kaila doesn't shy away from difficult subjects, including her experiences with substance abuse, cosmetic surgery, and sexual assault. Her reflections on changing her name from Elaine to Kyla reveal a poignant attempt to escape feelings of inadequacy—creating a character she thought the world would find more valuable than her authentic self.What makes this discussion particularly powerful is Kaila's willingness to examine her own complicity in these systems before finding a path toward healing. Through therapy and self-reflection, she's learned to embrace her authentic identity while using her experiences to educate others and articulating how fetishization disguises objectification as appreciation.Have you considered how stereotypes might be shaping your own perceptions? Listen to this episode for an enlightening conversation that will challenge assumptions and expand your understanding of how race, gender, and media intersect in today's world.Support the show:On Patreon Buy us a book Buy cute merchHave you read “Fetishized"? Share your thoughts with us! Connect with us @babesinbooklandpod or email babesinbooklandpodcast@gmail.com.If you leave a kind review, I might read it at top of show!Buy "Fetishized" by Kaila Yu Transcripts are available through Apple's podcast app—they may not be perfect, but relying on them allows me to dedicate more time to the show! If you're interested in being a transcript angel, let me know. This episode is produced, recorded, and edited by me.  Theme song by Devin KennedySpecial thanks to Kaila and Lisa! Xx, AlexConnect with us and suggest a great memoir!

Just as easterners imagined the American West, westerners imagined the American East, reshaping American culture. Back East: How Westerners Invented a Region (University of Washington Press, 2025) by Dr. Flannery Burke flips the script of American regional narratives.In novels, travel narratives, popular histories, and dude ranch brochures, twentieth-century western US writers saw the East through the lens of their experiences and ambitions. Farmers following the railroad saw capitalists exploiting their labor, while cowboys viewed urban easterners as soft and effete. Westerners of different racial backgrounds, including African Americans and Asian Americans, projected their hopes and critiques onto an East that embodied urbanity, power, and opportunity.This interplay between “Out West” and “Back East” influenced income inequality, land use, cultural identities, and national government. It fueled myths that reshaped public lands, higher education, and the publishing industry. The cultural exchange was not one-sided; it contributed to modern social sciences and amplified marginalized voices from Chicane poets to Native artists.By examining how westerners imagined the American East, Back East provides a fresh perspective on the American cultural landscape, offering a deeper understanding of the myths that continue to shape it. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. 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, Dr. Harlan Krumholz reviews the September 9, 2025 issue of JACC, covering key studies on artificial intelligence in cardiovascular research, the effects of tirzepatide in heart failure with preserved ejection fraction (HFpEF), and how social, racial, and genetic factors influence heart failure risk. He discusses the growing burden of heart failure in the elderly, the need to disaggregate data in Asian American and Pacific Islander populations, and the role of rare genetic variants in atrial fibrillation outcomes. The episode also features perspectives on clinical trial design, complex case reports, and emphasizes the need for AI submissions to meet high standards of clinical relevance, feasibility, and long-term impact.

Today's guest is Michelle Aguillon. Michelle is a theater artist, producer, director, actor, writer, and sometimes scenic designer. In this episode, we talk about Michelle's career path in theater, the challenges of representation in theater, particularly for Asian Americans, and her efforts to diversify casting and provide opportunities for people color. We also chat about her upcoming projects in greater Boston. I'm so excited for you all to get to know her. Enjoy!  Stay in touch:  BOSFilipinos - IG: @bosfilipinos, Email: info@bosfilipinos.com Michelle Aguillon - IG: @meeshaguillon Key links: Asian American Playwright Collective: IG: @aapcboston  // website: https://aapcboston.wixsite.com/mysite Creative Arts School: IG: @creativeartsschool  The Kittie Knox Plays with Plays in Place tickets (which are free!): https://www.tickettailor.com/events/playsinplace1 // IG: @plays_in_place For the full transcript, head to BOSFilipinos.com/blog

Just as easterners imagined the American West, westerners imagined the American East, reshaping American culture. Back East: How Westerners Invented a Region (University of Washington Press, 2025) by Dr. Flannery Burke flips the script of American regional narratives.In novels, travel narratives, popular histories, and dude ranch brochures, twentieth-century western US writers saw the East through the lens of their experiences and ambitions. Farmers following the railroad saw capitalists exploiting their labor, while cowboys viewed urban easterners as soft and effete. Westerners of different racial backgrounds, including African Americans and Asian Americans, projected their hopes and critiques onto an East that embodied urbanity, power, and opportunity.This interplay between “Out West” and “Back East” influenced income inequality, land use, cultural identities, and national government. It fueled myths that reshaped public lands, higher education, and the publishing industry. The cultural exchange was not one-sided; it contributed to modern social sciences and amplified marginalized voices from Chicane poets to Native artists.By examining how westerners imagined the American East, Back East provides a fresh perspective on the American cultural landscape, offering a deeper understanding of the myths that continue to shape it. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Just as easterners imagined the American West, westerners imagined the American East, reshaping American culture. Back East: How Westerners Invented a Region (University of Washington Press, 2025) by Dr. Flannery Burke flips the script of American regional narratives.In novels, travel narratives, popular histories, and dude ranch brochures, twentieth-century western US writers saw the East through the lens of their experiences and ambitions. Farmers following the railroad saw capitalists exploiting their labor, while cowboys viewed urban easterners as soft and effete. Westerners of different racial backgrounds, including African Americans and Asian Americans, projected their hopes and critiques onto an East that embodied urbanity, power, and opportunity.This interplay between “Out West” and “Back East” influenced income inequality, land use, cultural identities, and national government. It fueled myths that reshaped public lands, higher education, and the publishing industry. The cultural exchange was not one-sided; it contributed to modern social sciences and amplified marginalized voices from Chicane poets to Native artists.By examining how westerners imagined the American East, Back East provides a fresh perspective on the American cultural landscape, offering a deeper understanding of the myths that continue to shape it. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Mic has a really big announcement. THE FAREWELL TOUR KICKOFFhttps://www.eventbrite.com/e/asian-not-asian-live-the-farewell-tour-kick-off-tickets-1656778251349?aff=oddtdtcreatorC O M E S E E H A C K C I T Y C O M E D Y TicketsF O L L O W U Shttps://www.instagram.com/asiannotasianpodhttps://www.instagram.com/nicepantsbrohttps://www.instagram.com/jennyarimoto/P A T R E O Nhttps://www.patreon.com/asiannotasianpod P A R T N E R S -Check out friend of the pod John's cabin on Airbnb! https://www.airbnb.com/slink/penXRFgl - Helix Sleep Mattress: visit helixsleep.com/asian - Nutrafol: www.nutrafol.com (Promo code: Asian) This episode is sponsored by BetterHelp. Give online therapy a try at betterhelp.com/ASIAN and get on your way to being your best self.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Judy Yushin Nakatomi talks about her practice in the Zen and Shin traditions. She also discusses how she is practicing with her Bodhisattva vows through engaging with the current internment of minority people, while practicing awareness of her own family's history with war wounds. Judy and Rev Liên share with each other some of the nuances of having or not having access to ancestral languages and culture, and how they navigate being Asian American Buddhist practitioners in the United States. People/Organizations mentioned in the episode:Dr. Satsuki Ina  Dr. Duncan Ryūken Williams Bishop Marvin Harada Venerable Thich Nhat Hanh  Tsuru for SolidarityVista Buddhist TempleGUEST:JUDY YUSHIN NAKATOMI (she/we) is a mother, partner, auntie, writer and community cultivator, nurturing BIPOC sangha. past work/life as tea ambassador/ importer, congressional field rep and hospice caregiver. Judy  is an ordained dharma teacher in the Plum Village tradition, certified ministerial assistant, and descendant of ancestors incarcerated during war; dedicated to understanding the wisdom of intergenerational joy and sorrow.  Writing highlights:https://littleawakenings.blogspot.com/https://www.okaeri.org/okaeri-bookhttps://www.lionsroar.com/the-evolutionary-journey-of-mothering/Connect with Judy:IG: judy_yushin_nakatomiSubtack: Judy NakatomiHOST:REV LIÊN SHUTT (she/they) is a recognized leader in the movement that breaks through the wall of American white-centered convert Buddhism to welcome people of all backgrounds into a contemporary, engaged Buddhism. As an ordained Zen priest, licensed social worker, and longtime educator/teacher of Buddhism, Shutt represents new leadership at the nexus of spirituality and social justice, offering a special warm welcome to Asian Americans, all BIPOC, LGBTQIA+, immigrants, and those seeking a “home” in the midst of North American society's reckoning around racism, sexism, homophobia, and xenophobia. Shutt is a founder of Access to Zen (2014). You can learn more about her work at AccessToZen.org. Her new book, Home is Here: Practicing Antiracism with the Engaged Eightfold Path. See all her offerings at EVENTS

When Chriselle Lim started blogging 18 years ago, she didn't know she was building a career in what would become the most powerful industry today. During our conversation, Chriselle talks about watching the influencer industry develop from within, and how it led her to the most unexpected places. Growing up in Northern California and Korea, Chriselle felt pressured by national beauty standards, neither of which she thought she quite met. With limited Asian American representation in popular culture, she turned to fashion to project an air of confidence. She became the representation she always wanted as her digital audience grew.Her success in creatively directing her online presence resulted in an opportunity to join Phlur as co-owner and creative director. As with her own style, she merged her passion for storytelling with a beautiful product and helped turn the fragrance brand into one of the most popular on the market. Her impeccable taste and close attention to what fans want have led to Phlur's placement in 500 Sephoras and other international retailers. During her rising professional success, Chriselle went through a divorce. Again, she turned to her creativity to project closeness and confidence in her life, which led to the development of Phlur's hero scent, Missing Person. Her talent and storytelling led to a 250,000-person waitlist of people who resonated with Chriselle's visionary approach to scent and story.Tune in as we discuss:(4:16) What her beauty experiences were like as an Asian American teen(7:08) What led her to dissolve her facial fillers (27:30) Her scent predictions for the future(43:34) The books she can't get enough of Rate, Subscribe & Review the Podcast on Apple Join the Naked Beauty Community on IG: @nakedbeautyplanet Thanks for all the love and support. Tag me while you're listening @nakedbeautyplanet & as always love to hear your thoughts :) Check out nakedbeautypodcast.com for all previous episodes & search episodes by topicShop My Favorite Products & Pod Discounts on my ShopMyShelfStay in touch with me: @brookedevardFollow Chriselle @chrisellelim Hosted on Acast. See acast.com/privacy for more information.

**Special note to our listeners** Love the show? Help us keep the conversation going! Become a paid subscriber through our ⁠⁠⁠⁠⁠⁠⁠⁠Substack. ⁠⁠⁠⁠⁠⁠⁠⁠Your contributions help us continue to make content on issues related to the Asian-American, immigrant, modern parent experience.THANK YOU to our super awesome listeners who have already signed up!------------------------------------------------The final final episode of our Going on 40 series... we promise! Some of the TLDRs are below but you'll have to listen to the episode to get the commentary on Havenese farms, how Susan will become a media mogul-politician-cult-leader-pleasure seeker by 50 and whether we will be wearing Skechers or Hokas by then.- How we viewed and experienced our parents set the default for our other relationships with adults and authority figures.- How living a life true to yourself is easier said than done but will ultimately lead to more gratification and less regret later.- In life and work, realizing what "game" you're playing is important and also recognizing that there are many different kinds of games in life and you have some choice in the matter.- Your body and emotions send you important messages. If you spend your life suppressing them, they will catch up with you sooner or later.- Sometimes, letting go of an issue you're struggling with is the only way out! See: Susan's thoughts on body image.

Atlanta, get ready for an unforgettable two-part celebration! Panda Fest, one of the nation's fastest-growing outdoor Asian food and culture festivals, is making a highly-anticipated return to Atlanta. As the first city to ever host Panda Fest, Atlanta has earned the unique honor of hosting the event twice in one year. The panda-monium is set to take over Atlantic Station from September 5–7, 2025. Early Bird tickets for this one-of-a-kind Atlanta festival go on sale Friday, July 11 at 10 a.m. EST. What to Expect at Panda Fest Atlanta This September, Panda Fest will bring back the vibrant celebration of Asian American and Pacific Islander cultures that Atlanta has fallen in love with. Guests can embark on a culinary journey across Asia with more than 80+ food vendorsserving over 300 delicious dishes. You'll find everything from authentic street food to creative fusion bites from China, Japan, Korea, Thailand, Vietnam, and beyond. Beyond the food, explore a curated marketplace with over 25 vendors offering unique crafts, clothing, and artisan goods. The festival also features a dynamic lineup of live entertainment, including modern K-pop dance routines, traditional lion dances, theatrical performances, and more. And of course, the pandas take center stage, with Instagram-worthy installations like a 15-foot inflatable panda and a panda bounce ring, along with themed games and merchandise. Tickets & Details Dates: * Friday, Sept. 5: 12:00 p.m. – 5:00 p.m. * Saturday, Sept. 6: 10:00 a.m. – 10:00 p.m. * Sunday, Sept. 7: 10:00 a.m. – 8:00 p.m. Location: * Atlantic Station, Pinnacle Lot * 221 20th St., Atlanta, GA 30363 Ticket Info: * Early Bird tickets go on sale Friday, July 11, at 10 a.m. EST at www.pandafests.com. * General Admission and VIP tickets are also available. VIP perks include shaded seating, private bars, and exclusive experiences. For more information, visit www.pandafests.com. Follow @pandafestatlanta on Instagram for festival updates and sneak peeks! About Panda Fest: PANDA FEST is one of the biggest outdoor Asian food festivals in the US with experiential activities, tastings, and market fairs that showcases the vibrant food, art and cultural traditions from Asia. Ash Brown: Your Ultimate Guide to Inspiration, Empowerment, and Action Are you searching for a dynamic motivational speaker, an authentic podcaster, or an influential media personality who can ignite your passion for personal growth? Look no further than Ash Brown. This American multi-talented powerhouse is a captivating event host, an insightful blogger, and a dedicated advocate for helping people unlock their full potential. With her infectious optimism and genuine desire to empower others, Ash Brown has become a leading voice in the personal development and motivation space. Discover the World of Ash Brown: AshSaidit.com & The Ash Said It Show AshSaidit.com: A vibrant lifestyle blog and event platform, AshSaidit.com is your gateway to Ash's world. Here you'll find exclusive event invitations, honest product reviews, and a wealth of engaging content designed to inform and inspire. It's the perfect online destination to stay connected and get your daily dose of Ash's unique personality and insights. The Ash Said It Show: With over 2,100 episodes and over half a million global listens, "The Ash Said It Show" is a powerful and popular podcast. Ash engages in meaningful conversations with inspiring guests, diving into topics that truly matter. Listeners gain valuable life lessons, encouragement, and practical advice to help them navigate their own journeys. Why Ash Brown is a Leading Voice in Personal Development What truly distinguishes Ash Brown is her authentic and relatable approach to personal growth. She builds a genuine connection with her audience, offering practical advice and encouragement that feels like a conversation with a trusted friend. Ash doesn't shy away from life's challenges; instead, she provides the tools to tackle them head-on with confidence. Authentic Optimism: Ash's positive energy is contagious, empowering her audience to embrace new challenges with a more capable and hopeful mindset. Relatable Advice: Ash offers unfiltered, real-world guidance that resonates with people from all backgrounds. Her understanding that life can be tough makes her advice both honest and deeply encouraging. Actionable Strategies: Beyond just feeling good, Ash provides practical tips and strategies designed to help you turn your aspirations into tangible results. For a consistent source of inspiration, genuine encouragement, and actionable advice, Ash Brown is your ultimate resource. Her incredible positivity and unwavering dedication to helping others make her the ideal guide for maximizing your life's potential. Connect with Ash Brown: Goli Gummy Discounts: https://go.goli.com/1loveash5 Luxury Handbag Discounts: https://www.theofficialathena.... Review Us: https://itunes.apple.com/us/po... Subscribe on YouTube: http://www.youtube.com/c/AshSa... Instagram: https://www.instagram.com/1lov... Facebook: https://www.facebook.com/ashsa... Blog: http://www.ashsaidit.com/blog #atlanta #ashsaidit #theashsaiditshow #ashblogsit #ashsaidit®Become a supporter of this podcast: https://www.spreaker.com/podcast/the-ash-said-it-show--1213325/support.

Today we talk about how we decatastrophizing when we feel overwhelmed or anxious. We dive into some of our most common cycles and coping mechanisms, as well as ways we've learned to break out of our negative thought loops and combat our bad habits. We also evaluate how often our catastrophes tend to happen & how intense they can be.Support the showFollow us on social media @eatyourcrustpod

May is the month of Mary. In this week's episode we visit the Basilica of the National Shrine of the Immaculate Conception to learn about the history of the month of Mary and popular Marian devotions, such as praying the rosary. The Rosary is a Scripture-based prayer. It begins with the Apostles' Creed, which summarizes the great mysteries of the Catholic faith. The Our Father, which introduces each mystery, is from the Gospels. The first part of the Hail Mary is the angel's words announcing Christ's birth and Elizabeth's greeting to Mary. St. Pius V officially added the second part of the Hail Mary. The Mysteries of the Rosary center on the events of Christ's life. There are four sets of Mysteries: Joyful, Sorrowful, Glorious and––added by Saint John Paul II in 2002––the Luminous. Learn more about how to pray rosary. https://www.usccb.org/how-to-pray-the-rosary May is also Asian American and Pacific Islander Heritage Month. In this week's episode we highlight a story out of the Diocese of Tulsa which reflects the diversity and richness of our faith! Fr. Samuel Perez, Pastor of Sacred Heart Church in Miami, Oklahoma celebrates mass every weekend in Chuukese for local Micronesian Catholics in addition to five other masses in English and Spanish. People in the pews wear brightly colored traditional clothing and hairstyles. One Micronesian family from southwest Missouri makes the almost two-hour drive to hear Scriptures, prayers and songs in Chuukese. Adding a weekly Mass in Chuukese has improved not just Mass attendance but religious education enrollment at Sacred Heart, from 30 students to 120. Baptisms are up too: Father Perez's calendar in May had 11 baptisms for members of the Micronesian community. Farming jobs attracted many of Oklahoma's Micronesian natives from the island of Chuuk in the South Pacific. For their part, the community members are grateful that Father Perez has worked to learn their language and integrate their culture into the worship experience. “It shows that he really cares,” one altar server said. Father Perez points out that he made a lot of pronunciation mistakes early on, and he's still learning. There was no textbook; he caught on by repeating words his parishioners taught him. “They were very patient with me,” he said. “My accent is thick. I don't know how much they understand me, but it looks like they're OK with it.” Father Perez wants every Catholic to feel welcome and included in their Church home. “When God calls you to be a priest, you are called to serve all people.” The Diocese of Tulsa is currently celebrating its 50th anniversary jubilee year. Click here learn more about the Diocese and the Chuukese Catholic Community at Sacred Heart Church: https://dioceseoftulsa.org/ Coptic Orthodox Pope Tawadros II, patriarch of Alexandria, Egypt, was at the Vatican to mark the 50th anniversary of a joint declaration signed by St. Paul VI and Pope Shenouda III in 1973 outlining the beliefs shared by their churches. Pope Tawadros II called for unity between Catholics and Copts during Pope Francis' general audience. Read the CNS Rome story: https://www.usccb.org/news/2023/pope-pope-let-our-churches-be-united-christs-love Watch the video of this historic meeting: https://www.youtube.com/watch?v=NCTAC7dE_uI

Today, I'm joined by Matthew Veland, President of the Philippine American Chamber of Commerce of Metro DC and Dyanna Volek, proud Filipina American and native San Franciscan who during the day, works in government affairs and is a champion of the Filipino community. We discuss: Biggest challenges that Filipino business owners face Need to address mental health and business owners' relationship to money Entrepreneurial and mental health resources for business owners Ways we can support Filipino-owned businesses on both coasts ========================================= Matthew Veland is a highly respected financial planner with Prudential Financial in the Washington D.C. area, distinguished by his deep commitment to empowering Asian American, Native Hawaiian, and Pacific Islander (AANHPI) business owners and medical professionals. Beyond his professional expertise in financial planning, Matt is a leading advocate for the local Asian American business community, with a particular focus on the significant economic contributions of these enterprises. As the current President of the Philippine American Chamber of Commerce of Metro DC, Matthew spearheads an organization dedicated to uplifting and empowering over 200 entrepreneurs and business owners across the DMV region. Under his leadership, the Chamber actively promotes economic development, fosters networking opportunities, and amplifies the voices of Filipino American businesses. Further demonstrating his dedication to community development, Matthew is also a co-founder and Treasurer of FilExcellence, a non-profit committed to fostering personal empowerment and professional development within the Filipino diaspora. https://www.linkedin.com/in/mgveland/ IG: mgveland Dyanna Volek is a proud Filipina American and native San Franciscan who blends civic service with cultural passion. By day, she navigates government affairs with over a decade of experience in public affairs—but her heart beats for community, culture, and connection. Outside the office, Dyanna is a champion of holistic wellness and vibrant living, spotlighting the local businesses that are the lifeblood of cities. https://www.linkedin.com/in/dyannavolek/ IG: dyannaluna ================================================= For more mental health and entertainment content,   Follow us: https://www.instagram.com/color_of_success/ https://www.facebook.com/colorofsuccess https://www.tiktok.com/@colorofsuccesspodcast Subscribe to our YT channel: https://www.youtube.com/channel/UCiaS5_HScsbFOJE5lYrEsxw To purchase Dr. Wong's book: https://www.amazon.com/Cancel-Filter-Realities-Psychologist-Podcaster/dp/1960299239/ref=tmm_pap_swatch_0?_encoding=UTF8&dib_tag=se&dib=eyJ2IjoiMSJ9.ESHqItd-7JIevntWhPXNHw.D6QfeRDu2mzbsQQ9vUM-uSzxKxxYNNsNxjw2DOzSrfI&qid=1705532812&sr=8-1

Meet my friends, Clay Travis and Buck Sexton! If you love Verdict, the Clay Travis and Buck Sexton Show might also be in your audio wheelhouse. Politics, news analysis, and some pop culture and comedy thrown in too. Here’s a sample episode recapping four takeaways. Give the guys a listen and then follow and subscribe wherever you get your podcasts. Democrats vs. Law Enforcement The show features a critical breakdown of Chicago Mayor Brandon Johnson’s MSNBC interview with Joe Scarborough, where Johnson repeatedly avoids answering whether adding 5,000 police officers would reduce crime. Clay and Buck argue this reflects a broader Democratic reluctance to support law enforcement, driven by ideological commitments rather than public safety. They cite crime statistics—such as Chicago’s 629 murders in 2022, exceeding the entire United Kingdom’s total—to underscore the urgency of the issue. Real-World Consequences A gripping firsthand account from a young Asian-American reporter who was violently mugged in Washington, D.C., highlighting the real-world consequences of urban crime. This sets the stage for a broader conversation about President Trump’s aggressive crime-fighting strategy in the nation’s capital, which the hosts frame as both morally necessary and politically effective. The show explores how Trump’s deployment of the National Guard and law enforcement has led to a notable drop in violent crime, including a 13-day streak without a homicide—an unprecedented development in a Democrat-run city. The hosts contrast this with Democratic messaging that downplays violent crime in favor of focusing on homelessness and mental health, arguing that Trump’s results-driven approach is resonating with everyday Americans. Rep. Chip Roy Congressman Chip Roy joins the program to discuss his campaign for Texas Attorney General, his push to ban congressional stock trading, and his support for raising the mandatory retirement age for commercial pilots from 65 to 67 to address pilot shortages. He also weighs in on the Texas vs. Ohio State football game, predicting a win for the Longhorns led by Arch Manning. Anything to Not Thank Trump The hosts dive into the political and cultural impact of President Trump’s crime-fighting strategy, particularly in Washington, D.C., where violent crime rates have dropped significantly following federal intervention. They frame Trump’s approach as a bold, results-driven solution that contrasts sharply with Democratic leadership in cities like Chicago and Baltimore. The segment emphasizes how Trump’s actions—such as deploying federal resources and supporting law enforcement—are reshaping the national conversation around urban safety, law and order, and public accountability. The hosts also highlight Trump’s stance on transgender athletes in women’s sports, positioning it as a common-sense issue that resonates with a majority of Americans. They argue that Trump’s ability to solve real-world problems, from securing the border to reducing crime, is what sets him apart from traditional politicians. The discussion underscores how Democrats’ resistance to Trump’s policies—even when they improve public safety—reveals a deeper ideological divide, with some voters prioritizing political identity over personal security. Make sure you never miss a second of the show by subscribing to the Clay Travis & Buck Sexton show podcast wherever you get your podcasts! ihr.fm/3InlkL8 For the latest updates from Clay and Buck: https://www.clayandbuck.com/ Connect with Clay Travis and Buck Sexton on Social Media: X - https://x.com/clayandbuck FB - https://www.facebook.com/ClayandBuck/ IG - https://www.instagram.com/clayandbuck/ YouTube - https://www.youtube.com/c/clayandbuck Rumble - https://rumble.com/c/ClayandBuck TikTok - https://www.tiktok.com/@clayandbuck YouTube: https://www.youtube.com/@VerdictwithTedCruzSee omnystudio.com/listener for privacy information.

Shakespeare's Julius Caesar feels urgently contemporary in Rosa Joshi's new production at the Oregon Shakespeare Festival—one of America's largest and longest-running theater festivals, now in its 90th season. Staged in partnership with Seattle's upstart crow collective, the production explores the threat of autocracy, drawing on global histories of dictatorship. Performed entirely by women and nonbinary actors, Joshi's Julius Caesar offers new perspectives on a historically male-dominated political landscape. The result is a fresh reading of Shakespeare's classic tale of power, loyalty, and betrayal. In this episode, Joshi reflects on the production, the politics of performance, and why Shakespeare's plays continue to illuminate moments of crisis. >> Discover more about Julius Caesar at the Oregon Shakespeare Festival From the Shakespeare Unlimited podcast. Published August 25, 2025. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the executive producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc. Rosa Joshi (she/her) is a director, producer and educator. She currently serves as Associate Artistic Director of Oregon Shakespeare Festival. Rosa's directing work spans from Shakespeare to modern classics and contemporary plays. Throughout her career she has created work independently through self-producing, and in 2006 she co-founded upstart crow collective a company that produces classical plays with diverse casts of women and non-binary people. With upstart crow, she has directed King John, Bring Down the House, Richard III, Titus Andronicus, and Coriolanus. She is committed to creating ambitious productions of classical work featuring women, non-binary, and BIPOC artists. As Interim Artistic Director of Northwest Asian American Theatre, Rosa produced a range of Asian American performances, including: A-Fest, an international performance festival; Traces, a world premiere multi-disciplinary, multi-media, international collaborative work. She was also a Resident Director and Artistic Director of the Second Company at New City Theater, where she directed and produced various classical and contemporary plays. Rosa has been a faculty member at Seattle University and has also taught at The Old Globe University of San Diego Shiley Graduate Theatre Program, Hong Kong University, Hong Kong Academy of Performing Arts, and Cornish College for the Arts. Rosa holds an MFA in Directing from the Yale School of Drama and a BA in Theatre and Psychology from Bucknell University.

What happens when your earliest moments of intimacy are taken from you? In this raw and powerful conversation, author Kaila Yu shares the truth about a traumatic experience in her early twenties that splintered her sense of self. Raised in a household where emotions were rarely named, Kaila spent years seeking validation outside herself. When a modeling opportunity turned into a violent betrayal, she dissociated to survive. For a long time, she told no one. But silence has a way of catching up to you. In time, Kaila found the strength to tell the truth and honor the version of herself who got through it. Three key takeaways from Kaila’s life shift: Sometimes survival looks like silence, but healing begins when we tell the truth Dissociation is a form of protection, not weakness Self-worth is something we can reclaim, even after it’s been stolen This episode holds space for the complexity of trauma, cultural expectations, and the slow, brave act of integration. Listen at www.thelifeshiftpodcast.com/202 Kaila Yu is a luxury travel and culture writer and on-camera correspondent based in Los Angeles. Her work has been featured in the Los Angeles Times, New York Times, Rolling Stone, Condé Nast Traveler, and National Geographic. In her powerful debut memoir, Fetishized: A Reckoning with Yellow Fever, Feminism, and Beauty, Kaila explores the intersections of racialized desire, consent, trauma, and identity. The book will be released on August 19, 2025, by Penguin Random House’s Crown Publishing. Through her writing and advocacy, Kaila brings voice to the often-overlooked realities of Asian American women and invites deeper conversations around healing and self-worth. More from The Life Shift Podcast:

Teenaged Sabrina Wang has the distinction of being one of the first girls--Asian American or otherwise--to earn the coveted rank of Eagle Scout in what is now known as Scouting America. Formerly known as the Boy Scouts of America, the organization recently fully embraced a significant rebranding, opening its programs now to girls and LGBTQ+ youth while retaining traditions like the Scout Oath and mission. Sabrina's enthusiasm for becoming a Scout speaks volumes to the success of this effort. And her attaining the rank of Eagle Scout speaks volumes to her leadership abilities and determination.

Rebeccasode! Answering patron emails.This episode is sponsored by BetterHelp. Give online therapy a try at betterhelp.com/KIRK to get 10% off your first month.05:22 Atsuko Okatsuka & Asian-American comedians12:57 How would you define Jungian Shadow work?25:00 Can you experience countertransference in academics?30:40 Why is it so hard to find a good therapist?00:00 Premenstrual Dysphoric Disorder and comorbiditiesBecome a member: https://www.youtube.com/channel/UCOUZWV1DRtHtpP2H48S7iiw/joinBecome a patron: https://www.patreon.com/PsychologyInSeattleEmail: https://www.psychologyinseattle.com/contactWebsite: https://www.psychologyinseattle.comMerch: https://psychologyinseattle-shop.fourthwall.com/Instagram: https://www.instagram.com/psychologyinseattle/Facebook Official Page: https://www.facebook.com/PsychologyInSeattle/TikTok: https://www.tiktok.com/@kirk.hondaAugust 22, 2025The Psychology In Seattle Podcast ®Trigger Warning: This episode may include topics such as assault, trauma, and discrimination. If necessary, listeners are encouraged to refrain from listening and care for their safety and well-being.Disclaimer: The content provided is for educational, informational, and entertainment purposes only. Nothing here constitutes personal or professional consultation, therapy, diagnosis, or creates a counselor-client relationship. Topics discussed may generate differing points of view. If you participate (by being a guest, submitting a question, or commenting) you must do so with the knowledge that we cannot control reactions or responses from others, which may not agree with you or feel unfair. Your participation on this site is at your own risk, accepting full responsibility for any liability or harm that may result. Anything you write here may be used for discussion or endorsement of the podcast. Opinions and views expressed by the host and guest hosts are personal views. Although, we take precautions and fact check, they should not be considered facts and the opinions may change. Opinions posted by participants (such as comments) are not those of the hosts. Readers should not rely on any information found here and should perform due diligence before taking any action. For a more extensive description of factors for you to consider, please see www.psychologyinseattle.com

When Scott Shigeoka, a queer Asian American progressive, packed everything into his Prius and spent a year seeking out conversations with people who held opposing views, he discovered something remarkable about the relationship between fear and curiosity.In this transformative conversation, Scott shares insights from his book "Seek: How Curiosity Can Transform Your Life and Change the World" and reveals how genuine curiosity can turn our deepest fears into bridges of understanding. You'll learn his practical DIVE framework for navigating difficult conversations and discover why the people who scare us most might hold the key to our own transformation.You can find Scott at: Website | Instagram | Episode TranscriptIf you LOVED this episode:You'll also love the conversations we had with Brené Brown about how vulnerability and courage can deepen the connections and transform our lives.Check out our offerings & partners: Join My New Writing Project: Awake at the WheelVisit Our Sponsor Page For Great Resources & Discount CodesCheck out our offerings & partners: Beam Dream Powder: Visit https://shopbeam.com/GOODLIFE and use code GOODLIFE to get our exclusive discount of up to 40% off. Hosted on Acast. See acast.com/privacy for more information.

Jenny saw a moose. Mic gets into it at a Walmart.C O M E S E E H A C K C I T Y C O M E D Y TicketsF O L L O W U Shttps://www.instagram.com/asiannotasianpodhttps://www.instagram.com/nicepantsbrohttps://www.instagram.com/jennyarimoto/P A T R E O Nhttps://www.patreon.com/asiannotasianpod P A R T N E R S -Check out friend of the pod John's cabin on Airbnb! https://www.airbnb.com/slink/penXRFgl - Helix Sleep Mattress: visit helixsleep.com/asian - Nutrafol: www.nutrafol.com (Promo code: Asian) This episode is sponsored by BetterHelp. Give online therapy a try at betterhelp.com/ASIAN and get on your way to being your best self.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Daniel Dae Kim became the first actor of Asian descent to be nominated for a Tony, for his performance in Yellow Face, in the role of a playwright trying to deal with Asian American representation. His new Amazon Prime Video spy series Butterfly premieres today. Kim spoke with Ann Marie Baldonado about his career, his big break with Lost, and filming his new series in his hometown in Korea. Book critic Maureen Corrigan reflects on Gentlemen Prefer Blondes for its 100th anniversary. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy