Podcasts about korean american

Analog Jones loves reviewing Canon Films, and this week Steve picks a crazy one in Ninja III: The Domination (1984). Quick Facts Directed by Sam Firstenberg Written by James R. Silke Distributed by Cannon Film Released on September 14, 1984 Budget of $2 million Box Office: $7,610,785 Rotten Tomatoes: 33% Tomatometer / 53% Popcornmeter Starring Sho Kosugi (Japanese) as Goro Yamada Lucinda Dickey as Christie Ryder Jordan Bennett as Billy Secord James Hong (an American born to Chinese immigrants) as Miyashima David Chung (a Korean-American) as Black Ninja Hanjuro How to listen and reach Analog Jones and the Temple of FilmDiscuss these movies and more on our Facebook page. You can also listen to us on iTunes, iHeartRADIO, Podbean, Spotify, and Youtube! Please email us at analogjonestof@gmail.com with any comments or questions! Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Season 5, Episode 37! Today we continue with the second part of The History of The Secret War in Laos. We highly recommend going back to listen to Part 1. That's where you'll hear about the Cold War motivations behind U.S. involvement in Laos, the rise of General Vang Pao and the Hmong Secret Army, and the massive bombing campaign that made Laos the most heavily bombed country per capita in history. In this episode, we'll talk about the aftermath once the war ended… from re-education camps for the Lao and Hmong soldiers who fought on the side of the Americans, to the massive amount of UXO clean-up, to the refugee crisis. We also share some of the challenges with the current administrations policy of revoking temporary refugee status for many in the community. To learn more about some of the organizations helping with clean-up and education, checkout Legacies of War, Mines Advisory Group, or the Southeast Asia Resource Action Center. You can learn about all three and support them through donations. For our recurring segment, we talk about Netflix's most popular show ever… Kpop Demon Hunters. Kpop now goes beyond Korea, and with several prominent Korean American voice actors, this show definitely resonated with people who find relevance with the “third culture” experience. Whether you watch it for the story, action, music, or Kpop scenes, it's a show that is resonating with a lot of people! If you like what we do, please share, follow, and like us in your podcast directory of choice or on Instagram @AAHistory101. For previous episodes and resources, please visit our site at https://asianamericanhistory101.libsyn.com or our links at http://castpie.com/AAHistory101. If you have any questions, comments or suggestions, email us at info@aahistory101.com. Segments 00:25 Intro and Catching Up 06:36 The History of The Secret War in Laos Part 2 15:14 What Are We Watching? Kpop Demon Hunters!!!

CNN's Victor Blackwell hosted a panel last week to discuss the canary in the coal mine - a notable rise in unemployment among not only black Americans, but black women. On that panel: Black Voters Matter Fund co-founder LaTosha Brown, former GOP Georgia Senate candidate Stephanie Donegan, and Capital B national editor Dalila Paul. First, let's applaud that CNN fielded an all-black and female panel to discuss an issue impacting black women. You'd think it obvious to do that, but cable TV news isn't usually good at that.Still it was Donegan, the former GOP candidate, who leaned into tropes like 'affirmative action' and 'DEI' placing black women in positions, saying "ultimately a lot of the hiring, I feel that's happened within the federal government, was to check boxes for DEI."Notice she said "I feel ...;" not that she had evidence or data. Just "I feel ..."On with me to discuss her remarks and all the negative impacts of the second Trump presidency impacting black women is - yay me! - a black woman. Shavonda Miles is CEO at Vona Monet Consulting, in Atlanta. ------I'm beyond excited that Texas state House Representative James Talarico has announced his Senate run, but first Texas Democrats will have to decide between he and Collin Allred, someone else I'm a huge fan of. A shame we can't have both (yet, anyway) represent that state but hear Talarico's message and tell me it doesn't give you goosebumps (or 'white Obama' vibes). ------Georgian Lisa Cook's seat on the Fed Board is still hers, according to a federal judge. That stability, along with already-lowering mortgage rates should mean good news next week for the housing market, despite the slowing economy. ------The ICE raid on the southeast Georgia Hyundai Metaplant has put strains on US-South Korean and Georgia-South Korean relations, and Korean-Americans here are deeply concerned, themselves. ------Lastly, Marjorie Taylor Greene isn't excited about any of the GOP candidates running for Governor here or the US Senate seat now occupied by Jon Ossoff - mostly because she isn't one of the candidates (my opinion), but is this a sign of weakness on the cohesiveness on the right?

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

US raid on Hyundai-LG battery plant in Georgia sparks outcry in Korean communities진행자: 홍유, Tannith Kriel기사 요약: 조지아주 현대-LG 배터리 공장에서 미 이민당국의 급습으로 상당수 한국인을 포함한 475명의 노동자가 구금되자, 주미 한인 커뮤니티에서는 한국 기업의 미국 내 노동법 미준수 관행을 비판하거나, 미국 정부의 과도한 단속이 한국 기업의 투자 위축으로 이어질 것을 우려하는 등 다양한 반응이 이어지고 있다.[1] US immigration authorities' detention of 475 people, most of them South Koreans, at the construction site of a battery plant in Georgia on Thursday, sparked mixed reactions within Korean communities in the United States.detention: 구금spark: 촉발하다[2] The raid on the Hyundai Motor Group–LG Energy Solution joint-venture was the largest immigration enforcement raid during the second Trump administration.raid: 급습enforcement: 집행[3] On MissyUSA, one of the largest online communities for Korean Americans, the story quickly became a trending topic, drawing dozens of comments. Many posters said they “saw it coming,” noting that South Korean companies often operate with limited regard for US labor rules and rely on subcontractors.rely on: ~에 의존하다subcontractor: 하도급업체[4] “Despite the US government giving several warnings, they went through with it, so Thursday's event was predictable,” one commenter wrote. They added that acquaintances had told them the company had anticipated the raid and initially ordered workers not to come in, only to call them back when it seemed safe.predictable: 예측 가능한acquaintance: 지인기사원문: https://www.koreaherald.com/article/10570180

Top Stories for September 9th Publish Date: September 9th PRE-ROLL: From The BG AD Group Studio, Welcome to the Gwinnett Daily Post Podcast. Today is Tuesday, September 9th and Happy Birthday to Ottis Redding I’m Peyton Spurlock and here are your top stories presented by KIA Mall of Georgia Stone Mountain Park's Pumpkin Festival returns with all-new glow-in-the-dark attractions Gwinnett Democrats blast federal, state leaders over raid at Hyundai-LG plant Buford Dam Road temporarily closing near Lake Lanier on Sept. 11 All of this and more is coming up on the Gwinnett Daily Post podcast, and if you are looking for community news, we encourage you to listen and subscribe! Break 1: Kia MOG STORY 1: Stone Mountain Park's Pumpkin Festival returns with all-new glow-in-the-dark attractions Stone Mountain Park is about to feel like a storybook come to life. Starting Sept. 13, the Pumpkin Festival: Play by Day, Glow by Night is back—and it’s bigger, brighter, and, honestly, a little more magical this year. At night, the park transforms. Picture this: Cinderella floating through the air in a sparkling gown, lighting up a massive pumpkin tree. Then there’s the glow-in-the-dark pumpkin parade—floats, fairy tale characters, and a dance party you can’t help but join. Oh, and the grand finale? The World’s Largest Pumpkin Drone & Light Show, complete with fireworks. By day, it’s all about family fun—rides, glowing pumpkins, and even mini-golf. This runs through Nov. 2. STORY 2: Gwinnett Democrats blast federal, state leaders over raid at Hyundai-LG plant Gwinnett County leaders didn’t hold back Friday, slamming federal and state officials over a massive immigration raid at the Hyundai-LG plant in Bryan County. Nearly 475 workers—many South Korean nationals—were arrested, sparking outrage in Georgia’s largest Korean-American community. Federal agents called it a criminal investigation, not an immigration raid, but the fallout is undeniable. STORY 3: Buford Dam Road temporarily closing near Lake Lanier on Sept. 11 Heads up, drivers—Buford Dam Road near Lake Lanier’s southern end is shutting down for a day. On Sept. 11, from 8 a.m. to 5 p.m., the U.S. Army Corps of Engineers will close the road to patch potholes, fix guardrails, and handle some tree work. If you’re in the area, plan to detour via State Route 20. Oh, and heads up—parks along the road, like Buford Dam Park and West Bank Park, will also be closed. It’s just one day, but still, maybe pack a little extra patience. We have opportunities for sponsors to get great engagement on these shows. Call 770.874.3200 for more info. We’ll be right back Break 2: GWINNET FAIR STORY 4: Many Georgia teachers say they are overworked, underpaid and exposed to violence  Georgia’s teachers are burned out. Overworked, underpaid, and dealing with everything from disruptive classrooms to outright violence, many are questioning how much longer they can stay. A new survey from the Professional Association of Georgia Educators (PAGE) paints a grim picture: two-thirds of educators feel exhausted, and a quarter report severe teacher shortages at their schools. Even worse? 8% say they’ve been physically assaulted by students—double that for special education staff. Low pay, second jobs, and unpaid college debt only add to the stress. Something’s gotta give. STORY 5: Buford Corn Maze opens Saturday Fall’s not officially here yet, but the Buford Corn Maze is already gearing up for its 17th season of autumn fun—and honestly, who’s complaining? The Maze started Saturday, the 32-acre farm on Bennett Road is bringing back all the classics: the corn maze (of course), pumpkin patch, hayrides, pony rides, and the Kid’s Corner. Oh, and don’t forget the Haunted Forest—it opens Sept. 26 with this year’s theme, “Into the Twisted Hollow.” Spooky, right? New this year? Expanded animal encounters, carnival games, and a bigger kids’ play area. Tickets? Online or at the gate. STORY 6: ART BEAT: Lionheart Theatre returns all-female cast production of 'Radio T.B.S. Trailer Park Broadcasting Scandals' “Radio T.B.S.” is a fan favorite, so of course it’s part of Lionheart’s 25th Anniversary Season. Running Sept. 12–28, this all-female comedy stars longtime anchors Debbie McLaughlin and Tanya Gilmer, who’ve been with the show since its first run. Set in the Luna Del Mar Manufactured Home Oasis (aka “The Penicillin Capital of Central Florida”), the play follows radio hosts Vesta Poteet and Dixie Mandrell as they dish on everything from the Miss Manatee Contest to a “Jesus and Elvis” tribute. Oh, and those “Gone with the Wind” collector plates? Scarlett O’Hara looks suspiciously like Ernest Borgnine. Performances are Fridays and Saturdays at 7:30 p.m., with matinees on Sundays and Sept. 27. Tickets are $18 for adults, $16 for seniors, students, and military. Complimentary desserts at intermission—yes, really. Get tickets at lionhearttheatre.org or call 404-919-4022. But hurry—this one sells out fast. STORY 7: Suwanee wants tax rate to stay the same as past 13 years Suwanee residents, get ready to possibly see a familiar number on your property tax bill this fall. The City Council just voted to tentatively keep the millage rate at 4.93 mills—the same rate it’s been for 13 years. But here’s the catch: it’s slightly above the rollback rate, meaning a 3.88% tax increase is coming your way. Why? The city’s $20.8 million budget for FY 2026, which kicked off July 1, needs funding. It’s 7.8% bigger than last year’s and includes five new full-time positions, $650,000 for landscaping, and $606,000 for capital projects. Public hearings? Sept. 11 and Sept. 23. We’ll have closing comments after this. Break 4: Ingles Markets Signoff – Thanks again for hanging out with us on today’s Gwinnett Daily Post Podcast. If you enjoy these shows, we encourage you to check out our other offerings, like the Cherokee Tribune Ledger Podcast, the Marietta Daily Journal, or the Community Podcast for Rockdale Newton and Morgan Counties. Read more about all our stories and get other great content at www.gwinnettdailypost.com Did you know over 50% of Americans listen to podcasts weekly? Giving you important news about our community and telling great stories are what we do. Make sure you join us for our next episode and be sure to share this podcast on social media with your friends and family. Add us to your Alexa Flash Briefing or your Google Home Briefing and be sure to like, follow, and subscribe wherever you get your podcasts. Produced by the BG Podcast Network Show Sponsors: www.ingles-markets.com  www.kiamallofga.com #NewsPodcast #CurrentEvents #TopHeadlines #BreakingNews #PodcastDiscussion #PodcastNews #InDepthAnalysis #NewsAnalysis #PodcastTrending #WorldNews #LocalNews #GlobalNews #PodcastInsights #NewsBrief #PodcastUpdate #NewsRoundup #WeeklyNews #DailyNews #PodcastInterviews #HotTopics #PodcastOpinions #InvestigativeJournalism #BehindTheHeadlines #PodcastMedia #NewsStories #PodcastReports #JournalismMatters #PodcastPerspectives #NewsCommentary #PodcastListeners #NewsPodcastCommunity #NewsSource #PodcastCuration #WorldAffairs #PodcastUpdates #AudioNews #PodcastJournalism #EmergingStories #NewsFlash #PodcastConversations See omnystudio.com/listener for privacy information.

Jason grew up in a Korean American home, shaped early by Jehovah's Witness teachings and a deep fear of dying without God. As a teen he encountered the love of Jesus at a youth retreat, then years later, in the middle of a college party, Jesus met him again and broke chains of drugs, shame, and depression. Jason was then called into ministry and now pastors youth, witnessing healing, deliverance, and revival. This is a story of the Father's heart, and the God who would rather be with us in our mess than without us at all.Listen on Podcast Spotify Podcast ⇨ https://spoti.fi/3RBKdq3Apple Podcast ⇨ https://apple.co/3evzCuuConnect with ushttps://www.facebook.com/delafetestimonieshttps://www.instagram.com/delafetestimonies/Connect with JasonEmail ⇨ pastorjason@hopemd.churchWebsite ⇨ https://www.gracereformationministry.org/Church Website ⇨ https://hopemd.church/Credits:Testimony by Jason ChoiDirected by Eric Villatoro Interviewed by Eric Villatoro Edited By Darvin RamirezAudio Mixed by Paul Nicholas Testimony Recorded in Gaithersburg, MarylandDelafé Testimonies is a global evangelistic project with the mission of creating the world's largest archive of Jesus testimonies until His return. Chapters00:00 Introduction00:21 Going to Kingdom Hall as a Child02:12 Wrestling with the Concept of Eternity as a Child04:02 Encountering the Love of God at a Youth Retreat07:42 Fighting, Drugs, and Partying12:15 Trying to Serve God in My Own Strength15:00 The Bottom Falls Out (or Trying to Quit Ministry)18:06 Encountering God Again at Another Youth Retreat25:07 Still Wrestling with Doubt (or Still Doubting God's Love)28:48 Hearing God's Voice at a College Party32:43 Growing in Friendship with Jesus37:43 Moving in God's Power as a Youth Pastor40:58 What the Last 15 Years Have Been Like44:37 Unlearning what the Jehovahs Witnesses Taught Me47:26 Who is Jesus To You?48:06 Prayer50:31 Final WordsI Couldn't Believe that GOD Loved Me Until I Heard Him Say THIS...

We're back!This week Jun and Daniel finally tackle the highly anticipated media review of "K-Pop Demon Hunters" (or "케데헌" in Korea). After discussing the massive global success of the Netflix animated film—which became the number one Netflix original movie of all time—they dive deep into various aspects of the production. From analyzing what defines authentic K-pop versus generic pop music, to exploring the typical K-pop group format and how the film made Korean culture accessible to non-Korean audiences, our hosts examine everything from the nostalgic snack spread featuring classic treats like 새우깡 to the film's blend of traditional and modern Korean cultural elements. They also grapple with complex questions about cultural authenticity, discussing director Maggie Kong's Korean Canadian background and whether Korean Americans can represent "authentic" Korean culture, while exploring the natural evolution of cultural export from origin countries to diaspora communities.If you're interested in understanding the cultural significance of K-pop group roles (visual, rapper, leader, maknae), learning about the differences between how Korean Americans and Korean Koreans preserve traditional culture, exploring questions of cultural appropriation versus cultural evolution in the context of Korean content, or hearing Daniel and Jun's personal reactions to a film that has captivated audiences worldwide, tune in to hear them discuss all this and more! This episode also touches on the broader K-wave phenomenon, comparisons to other Korean cultural exports like Squid Game, and the emotional impact the film's soundtrack has had on families.Support the showAs a reminder, we record one episode a week in-person from Seoul, South Korea. We hope you enjoy listening to our conversation, and we're so excited to have you following us on this journey!Support us on Patreon:https://patreon.com/user?u=99211862Follow us on socials: https://www.instagram.com/koreanamericanpodcast/https://twitter.com/korampodcasthttps://www.tiktok.com/@koreanamericanpodcastQuestions/Comments/Feedback? Email us at: koreanamericanpodcast@gmail.com

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.

Doctors are often the silent backbones of society - through constant understanding and support through grit, determination, and a simple yet complicated dream of making the world a better place. Dr. William is the perfect example; as a chiropractor, he stresses it is not just the occassional crack that relieves patients from pain, it is months and years of really guiding the body in understanding the root causes of pain and to build lifestyles that truly embody what you preach. He also mentors a soccer team, cultivating a community that is built on growth and learning. As a Korean American, the complexities that he faces daily is a sign of strength, honesty, and authenticity, and the best way to share what he's learnt throughout the years is to give back to his community. What does "giving back" mean in his dictionary? How does he balance being a chiropractor and soccer player?

Jackie Dallas was only a year from finishing her residency in pathology when she decided to leave medicine, move to California, and pursue acting. Through hardworking and perverance, she has appeared on many hit shows, including playing "Jen Woo" (science teacher Mr. Clarke's girlfriend) in Season 1 of "Stranger Things." You can see her now in The Hunting Wives, which is currently the No. 1 show on Netflix. You'll also get to know how she's using her current platform and her training as a medical doctor to help countless women understand the importance of pelvic health and to get help if needed.

Send us a textThis episode is a meditation and a prayer — to the Ancestors who came before us, on behalf of the future generations who will carry on after we are gone.Drawing from the wisdom of Marcus Aurelius and the Stoic ideal of living a virtuous life in service to others, I reflect on impermanence, legacy, and what truly matters. Wealth, fame, and status fade like vapor, but kindness, generosity, and love endure across time.I share the story of “Auntie Jay,” a remarkable Korean woman whose life was shaped by an act of compassion decades ago — a reminder that what lasts is not our possessions, but the invisible thread of kindness passed down from generation to generation.The episode closes with a prayer to the Ancestors: gratitude for their struggles, guidance for the present, and the hope that we may leave behind a better world for our children, and their children.

Welcome to Season 7! As we are now a quarter of the way through the 21st century, like Bill Murray in Tootsie, Paul and Corey are asking, “What happened?” This season we are looking at the trends, genres, styles, and more that make up cinema of the past 25 years. This week, Corey chose perhaps the most cleanly divisive film in all of PACCTS, Past Lives (2023). Written and directed by Korean-American playwright Celine Song, the film follows 24 years in the lives of childhood sweethearts Na Young/Nora and Hae Sung as they weave in and out of each others' lives. During that time Nora marries an American writer, Arthur. The film examines the nature of human connection and love, and whether fate or another transcendent force, inyeon, explains why there are certain people whom we just...can't shake. As is sometimes the case, a film resonates with one of our hosts and leaves the other cold. See where you land.

August 27, 2025 - The Korea Society and the Korean American Community Foundation's (KACF) Associate Board are pleased to present Rooted in Giving: Leading Korean Voices in Philanthropy, a panel discussion featuring three Korean leaders working at the forefront of non-profit and philanthropy: Jeannie Park, Sue Kim, and Abraham Kim. Together, they will share their experiences and insights on what it means to lead with purpose, build strong communities, and drive meaningful change through service, advocacy, and giving. This panel will be moderated by Emil Kang, the Agnes Gund Visiting Professor of the Practice of Arts at Brown University and Former Program Director for Arts and Cultural Heritage at The Andrew W. Mellon Foundation.  The KACF Associate Board (AB) is a group of community-minded young professionals based in the New York Metro area who serve as ambassadors of KACF's mission, helping to build awareness of issues of economic security and shape the next generation of Korean American philanthropy. KACF funds community-based non-profit organizations working to improve lives and transform communities in the Korean and Asian American communities in the greater New York area. KACF transforms and empowers communities through philanthropy, volunteerism and inter-community bridge building. For more information, please visit the link below: https://www.koreasociety.org/corporate/2032-rooted-in-giving-leading-korean-voices-in-philanthropy

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

In this episode of Identified, Nabil Ayers talks with Youngmi Mayer—comedian, author, and host of the acclaimed Feeling Asian podcast—about growing up biracial in South Korea, the long shadow of generational trauma, and the unresolvable contradictions that shape our identities. Youngmi, who was born in Korea to a Korean mother and white American father, opens up about the deep stigma around mixed-race children in Korean society—stories that include institutional rejection and even state violence in recent history. She shares how being “slightly different” in appearance made her feel completely othered, despite speaking Korean fluently and being raised in Korean culture. The conversation travels through her complex ancestry—including the discovery of Jewish lineage through a 23andMe test that rewrote part of her family history—and the paradox of being descended from both Jewish people and German Nazis. Mayer speaks candidly about intergenerational trauma, including a family legacy shaped by war, loss, and silence, and how these inherited narratives continue to affect how she views success, emotion, and even motherhood. As a single mother co-parenting her son with her ex-husband, Youngmi reflects on building a version of family that defies tradition. She’s blunt, funny, and brilliant as she challenges romanticized notions of family, while still admitting to the deep, inescapable bonds that tether her to her roots. This episode is a powerful meditation on biracial identity, cultural belonging, and what it means to both honor and critique the families that raised us. Host: Nabil AyersGuest: Youngmi MayerExecutive Producer: Kieron BanerjiSee omnystudio.com/listener for privacy information.

Take one step closer to financial freedom. Rose Han is a first-generation Korean American who paid off $100K in student debt on her way to becoming a self-made millionaire in just 7 years. She blends emotional intelligence with practical money tips to teach a fresh, freedom-focused approach to wealth. Today, Rose opens up about her business, including how she built her personal brand and found space for creativity without sacrificing income. She also shares the first step you need to take towards becoming a millionaire (hint: it's not earning more money). In this episode, you will learn about: Why it's important to build a business that helps you create the life you want. The unexpected thing that happened when Rose reached a million dollars. What it takes to design a life of freedom. Finding the balance between what you love and what makes you money. How to find the motivation to keep going when working for your dream feels tough. The power of delayed gratification in life, business, and money. What to do first if you want to become a millionaire. A strategy for spending purposefully and knowing what you actually can afford. What it means to be a wild woman: Finding your own definition of success and having the courage to follow it.   Today's episode is brought to you by LinkedVA. Transform your business growth with expert virtual team members who handle your essential tasks. Visit LinkedVA.com to discover how their virtual assistants can give you back valuable time in your day.   Check out The Pink Skirt Project, happening June 11-12, 2026 in Kelowna, BC, Canada.   Want to get unstuck, feel more confident and surround yourself with women ready to help you climb? Join The Pink Skirt Society.   Got a minute? I would love a review! ⭐⭐⭐⭐⭐ Click here, scroll to the bottom, tap, and give me five stars. Then select "Write a Review." Make sure to highlight your favorite bits. Subscribe here. Connect with Rose: www.rosehan.com www.instagram.com/itsrosehan www.youtube.com/@itsrosehan Connect with Renée: @renee_warren www.reneewarren.com

진행자: 박준희, Chelsea Proctor기사 요약: 가수의 꿈을 안고 케이팝 명가 SM엔터테인먼트에서 10년 넘게 연습생 생활을 했지만 데뷔에 실패한 케이팝 데몬 헌터스 수록곡 ‘골든'의 작곡가 이재는 이제 그래미상 수상이라는 새로운 꿈을 꾼다.[1] For 33-year-old Korean American singer-songwriter Ejae, born Kim Eun-jae, the dream was to debut as a K-pop idol after spending 10 years training at SM Entertainment. But the call never came. Neither in a group nor as a soloist did the powerhouse label see her fit to debut.* singer-songwriter: 싱어송 라이터, 직접 노래를 쓰고 부르는 가수* neither A nor B: A도 B도 아닌* powerhouse: 막강한 집단이나 기관, 영향력자[2] Instead of turning her back on music, Ejae found another path — one that would lead her to co-write "Golden," the soaring anthem from Netflix's megahit "KPop Demon Hunters," released in June.* turn back on: 등을 돌리다[외면하다]* path: 길, 방향* anthem: (국가·단체 등에 중요한 의미가 있는) 노래* megahit: 대형 히트[3] Ejae's next goal is no longer about becoming a famous singer. It is about winning a Grammy — an achievement she says would carry a meaning far beyond her own career.* no longer: 더 이상 ~이 아닌* achievement: 업적; 성취* beyond: ~를 넘어서는[4] "It wouldn't just be a personal milestone," she said. "It would be a message to every Asian American girl who's ever felt impostor syndrome in this industry," she said in an email interview with The Korea Herald.* milestone: 이정표, 중대한 사건이나 시점* imposter: 남의 이름을 사칭, 다른 사람 행세를 하는 사람 (imposter syndrome: 가면 증후근)* industry: 산업, 업계기사 원문: https://www.koreaherald.com/article/10552221[코리아헤럴드 팟캐스트 구독]아이튠즈(아이폰):https://itunes.apple.com/kr/podcast/koliaheleoldeu-paskaeseuteu/id686406253?mt=2네이버 오디오 클립(아이폰, 안드로이드 겸용): https://audioclip.naver.com/channels/5404팟빵 (안드로이드): http://www.podbbang.com/ch/6638

Merriam-Webster's Word of the Day for August 21, 2025 is: validate • VAL-uh-dayt • verb To validate something is to show that it is real or correct. Validate can also mean “to state or show that something is legal or official,” “to put a mark on something to show that it has been checked and is official or accepted,” and “to show that someone's feelings, opinions, etc., are fair and reasonable.” // The company's claims about its latest product are yet to be validated. // You can get discounted parking by having your parking garage ticket validated at the museum's ticket desk. // The decline in sales only validated our concerns about the menu changes. See the entry > Examples: “Rather than capitulate to the common assumption that all Korean immigrants and Korean Americans perceive Korea to be one's home, or America for that matter, Clay Walls serves to fully contextualize and validate one's sense of home and homeland, and the possibility of multiple homes and homelands ...” — David S. Cho, introduction to Clay Walls by Kim Ronyoung, 2024 Did you know? When validate first entered the language in the mid-17th century, its meaning was tied fast to its close relative, the adjective valid, meaning “executed with the proper legal authority and formalities”: to validate something, such as a marriage or treaty, was to make it legally valid. This meaning is still current, but the word is now used in nonlegal and informal contexts as well. If the museum you visit validates your parking garage ticket, you're given an official mark on the ticket and you do not have to pay full price for parking. If someone's claims cannot be validated, those claims cannot be confirmed. And if a coach puts an untested player into the game and the player scores the winning point, the player's strong performance validates the coach's decision.

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.   Important Resources: Asian Refugees United: Website | Instagram | Learn about the Disappearances of Bhutanese American refugees: Website | Toolkit Hmong Innovating Politics: Website | Instagram Lavender Phoenix: Website | Instagram Minjoona Music: Instagram   Transcript: Cheryl (Host): Good evening. You're tuned in to Apex Express. I'm your host, Cheryl, and tonight we're diving into the vibrant summer programming happening across the AACRE network. That's the Asian Americans for Civil Rights and Equality Network. AACRE is made up of 11 Asian American social justice organizations working together to build collective power and create lasting movements .  Throughout tonight's show, we'll be spotlighting a few of these groups [00:01:00] and the incredible work they're leading this summer. First up, we're joined by Pratik from Asian refugees United Pratik. Thank you so much for being here. Do you mind introducing yourself and to kick things off in the spirit of tonight's show, maybe share what's something that's been bringing you joy this summer? Pratik (ARU): Hello, namaste everyone. My name is Pratik Chhetri. He, him. I'm the program manager at ARU, Asian Refugees United in Pennsylvania. I'm originally from Nepal. I grew up in Nepal. I am an immigrant, came to the for college long time ago. And I've been working in social justice, health justice field for over 15 years now. Initially it was mostly around advocacy policy relating to access to medicines, issues, especially in lower and middle income countries, and the past six, seven. More than seven [00:02:00] years. I also started an organization, a nonprofit organization in Nepal, that works at the intersection of social, economic and climate justice. And with ARU, I got introduced to ARU back in 2020. So by that time I had some skills that I felt I could bring to the community. Even though I'm not from Bhutanese refugee community, I speak the language, I understand the culture to a certain extent. So I felt with the linguistic skill I could be of some help. I think right around that time COVID happened, everything and end of 2021 is when I reconnected with Robin and started talking about possibilities. For about two years, I was part of the CAMP for Emerging Leaders, the leadership program ARU has, and [00:03:00] starting last year, early this year formally, I am a staff, for ARU. I'm in charge of programs under wellness, education, and civic engagement largely but depending on time and resources, I become available for other programs as well. It's a joy working with ARU. I was just telling Cheryl earlier that it doesn't feel like work ‘ cause I enjoy it, working with people, getting to work on impactful programs, and being a part of an organization that has so much potential, so much responsibility, but also trying to find new ways to become, useful for the community. That's very exciting. Yeah.  Cheryl (Host): That's great. I'm glad that your work is what's bringing you joy this summer. That's so special. And before we get into some of that impactful programming that you've been running this summer, could you [00:04:00] tell us a little bit about, ARU, Asian Refugees United  Pratik (ARU): Sure. ARU started back in 2016 in California and back then all of the programs used to be in California. The community that ARU serves since then, and even to this day are Nepali speaking, Bhutanese refugee community and Vietnamese community, Korean and other Pan-Asian community. After the pandemic, there has been a lot of secondary migration of the Bhutanese folks from across the United States to two major locations. One being central PA around Harrisburg area and Pennsylvania, and the second one around Columbus, Ohio, and other major cities in Ohio. The secondary migration mostly to Pennsylvania triggered a, shifting of ARU programs, to Pennsylvania as well in addition to [00:05:00] California. So at this point in 2025, the Pennsylvania side of ARU caters to the Nepali speaking Bhutanese folks. And the California side of ARU works with Vietnamese, Korean, and other Asian communities. I work with the Pennsylvania, ARU, and here we have four different pillars around health and wellness, education, art and storytelling. And the fourth one is civic engagement, and that is the newest one. I can talk about programs under each of the pillars but for summer the programs that is bringing me joy, not only for me, but also ARU's staffs is this longitudinal five month long leadership program called Camp for Emerging Leaders, where we recruit Nepali speaking folks from all across United States, and they go through virtual sessions every other [00:06:00] week on, history to the story of displacement, intergenerational trauma. How it started, how it used to be back in Bhutan, how it used to be in the refugee camps in Nepal, and now how it is in the US and Canada, wherever they are. So end of summer, end of July, early August is when all of those cohort members, the youth leaders will come physically to Harrisburg and we'll spend a few days here connecting with each other, building that trust, but also working together to build projects for the community, addressing community challenges that's happening. And for that I think five or six of the ARU staff from California are also coming. We have guest speakers. I think one of them is coming from all the way from Australia. It's fun. Largely I think [00:07:00] I'm looking forward to meeting with all of these youth leaders who have so much potential to do, so much good, not only for Bhutanese community, Nepali speaking, south Asian community, but also, their potential goes beyond that, yeah.  Cheryl (Host): It is powerful to hear how ARU's work has evolved and now spans across the nation, and also how Camp for Emerging Leaders is creating space for Nepali speaking Bhutanese youth to reflect their community's history, build deep connections, and grow as leaders. You mentioned that during the summer youth leaders gather in Harrisburg to create community projects. Could you share more about what kinds of projects they're working on and what kind of issues they're hoping to address? Pratik (ARU): For education, one of the main ones that we just concluded is, so we started high school success program called First Step Forward. And the interesting thing, the exciting thing about this program [00:08:00] is the concept of First Step forward from one of the Camp for Emerging Leaders cohort from two years ago. And similarly so that's how most of ARU programs have been. The ARU Youth Center, the ARU Office, that concept also started from the camp for emerging leaders. There are a couple other programs ARU does. Youth Wellness Day. That started from the camp as well. For the First Step Forward, what we do is early winter of, I think January or February we accepted a cohort of 10. These were high school juniors and seniors, and largely the purpose of the program is to make sure that they are well equipped for college and for any other professional avenues they end up going even if higher education is not for them. We did a lot of like leadership sessions, public speaking [00:09:00] sessions, like how to write essays, how to apply for different scholarships. We just concluded it literally last Saturday, we went hiking and went to one of the Six Flags amusement parks. But learning from that program, we are scaling it up. We're taking 20 people next year, and we will do it a year long cohort. So starting from September up until May, June. We'll integrate college tours, not only for the kids, but also for their family because in Bhutanese community and Nepali speaking folks a lot of the times the parents do not understand how the system works, even with their best intent and best intention. So along with the students, it is very important for us to work with the family, the parents as much as possible to take them through the process, right? On education, we also do a lot of cultural navigation training to [00:10:00] different county level and different governance agencies. Some of the cultural navigation trainings that we did in the past year that I can think of is we did one for the. Panel of judges from Dauphin County, which is where Harrisburg is. We did similar thing for different school districts in Dauphin and Cumberland County, different nearby counties for juvenile probation unit, child and youth services. And while we do that, as an organization, it gave us a better sense of where the gaps are, especially for parents to run into difficulties. 'cause a lot of times, for example, if a kid is sent home with a sheet of paper, even when it's bilingual, because their movement happened from Nepal to Bhutan, such a long time ago, a lot of the folks in the community speak the language but do not understand how to read or write the [00:11:00] language. So there are double language barrier, right? When a kid is called into a meeting or a disciplinary meeting, the parents a lot of times don't even look at the sheet of paper or don't know where to show up or how to show up or what to expect. Based on those things we're using that knowledge and experience to design further programs in the future. That's just for education. With civic engagement, for example, this 2024 cycle was the first election for our community members to vote in their lifetime. Back in Bhutan they didn't have that opportunity and then they spent decades in refugee camps, and it took most of them some time to get the green cards and five years after Green card to secure their citizenship. So we saw a lot of even elderly folks show up to voting. That was their first time that they were voting. And when that happens, it's not [00:12:00] just generic voter education. It's teaching the community how to register, where to register, where to show up at the precincts. A lot of precincts we were seeing, 30 to 40% of the folks show up to the wrong precincts. So there's a lot of need, but also in 2024 we saw, unfortunately, a lot of folks fall victim to misinformation and disinformation. So there's that need to do something about that part as well in the future. One of the things we started doing under civic engagement work is not just teach folks where to register, how to register on voter education, but also preparing some of the community members to run for office.  Two or three weeks ago, mid-June, we did our first round of run for office training. We partner up with another organization called Lead PA. And even for the folks who showed up, all of us [00:13:00] are politically inclined, educated to a certain extent, and a lot of the things that were shared in that training, it was mostly new to us, especially around local government. Like what are the positions that they are and how so many important positions, people run unopposed and what kind of ramifications that might have for our daily lives. Right. Starting 2026 election cycle, we're hoping some of our trainees run for office as well, starting from school board to all the way, wherever they want to. And there are wellness focused events, youth wellness Day that I talked about, around mental health is one of the great needs for the community. One piece of data might be very important to mention, based on CDCs 20 12 data, there was a report out, the research was conducted in 2012, and the report came out in 2014, basically what it said [00:14:00] was, Bhutanese folks in the US have the highest of suicide in the whole nation, and that's something that has not received a lot of attention or resources because generally those numbers get mixed up with generic Asian data and the numbers get diluted. Right. So one of the things, what, as an organization, what we are trying to do is bring awareness to that number. And the other thing is like, it's been over 10 years since that study happened and there has not been a follow-up study. What we are seeing is previously how mental health and it's ramifications how it was affecting the community, it was mostly about 10 years ago, mostly affecting older folks. Now we are seeing a lot of younger folks commit suicide or suicidal attempts. So there is a lot of work in that respect as [00:15:00] well. These are also some of the very crucial topics to work on. But as an organization, we are taking baby steps toward being able to efficiently address the community needs. I missed some of them, but overall, our organizational goal is to empower the community in one way or the other. And one of the tools that we use is focusing on youths because youths in the community, similar to other immigrant communities, our youths are mostly bilingual, bicultural, and many times they're the translators and system navigators for their whole family. And in many cases their extended family as well. Yeah.  Cheryl (Host): Wow. There are so many layers to the work that you all do. From developing leaders to run for office, to supporting mental health, to helping folks navigate voting and helping folks access higher education or career pathways.[00:16:00]  That's such a wide scope, and I imagine it takes a lot to hold all of that. How do you all manage to balance so much, especially with a small team, is that right?  Pratik (ARU): Yes. Technically we only have one full-time staff. Most are part-time, but ranging from. 10% to 80%. Largely we rely on the community members, volunteers, and we pay the volunteers when we can. And other times, I think it speaks to how much time and effort and how genuinely, folks like Robin, who is the co ED of ARU and Parsu who is the office manager, and other folks in Harrisburg, connected with different community leaders, folks of different subgroups over the years. So. When ARU moved to Harrisburg, Pennsylvania post pandemic, it took them a while to get the hang of the community, the growing community. Back then it used to [00:17:00] be 10, 20,000 max in central PA and now our estimation is like 70, 80,000 in central PA. It took them a while to create space of trust, that ARU are people that they can come for when they run into problems. And even when we don't have a lot of resources, people show up. People volunteer. People volunteer their time, their spaces for meetings and events. Yeah. And that's how we've been running it. I feel like we do five or 10 x amount of work with the resources that we have, but that's largely because of the perception the community has about Robin, about Parsu, about other individuals, and about the organization.  Cheryl (Host): That's so amazing. ARU clearly has such deep community roots, not just through the incredible work that of course Robin, [00:18:00] Parsu and so many others you have named have done to build lasting relationships that now sustain the work in the organization, but also I think it's also evident in the examples you've shared through Camp for Emerging Leaders, how you all really listen to youth and learn from their experiences. And you all shape programs that respond directly to the needs that you're seeing. And in that same spirit of care and commitment that is reflected in ARU's amazing staff and volunteers. I'm curious, are there any moments or memories from camp for emerging leaders that stand out to you? I imagine there must be so many.  Pratik (ARU): Yeah. Many stories. I started attending and facilitating the sessions for the camp I from 2022 cohort and maybe even 23 cohort. I think this is the third one that I'm doing. I'll talk about Kamana. [00:19:00] Kamana joined the 23 cohort and at that time she was still in high school. But you know, she was bubbly, full of energy and she was one of the pretty active members of the cohort and eventually after the cohort, she ended up joining ARU as initially, I think as an intern, and now she is the lead of the education program. She will be a sophomore or rising junior, starting this fall. But now she'll be running the education program, First Step Forward. Primarily it was internally us staff, we see the growth in them with experience. But also I think one of the things that ARU does is we create a sort of non-hierarchical structure within our office space in the sense that anyone can [00:20:00] design a program or any idea, and they do not feel intimidated to speaking up. I think because of that, people like Kamana, I can talk about other folks like Nawal. Them growing within ARU space shows not just with experience, but also I think the kind of open and inclusive and non hierarchical space that we create they feel comfortable enough in leading. A lot of times when we have , X, y, and Z needs to be done in the group chat, people just volunteer. Even when they don't get paid, we see our staff, our volunteer base just show up time and time again. Yeah.  Cheryl (Host): Wow. ARU is such a special container. You've created this beautiful space where people can grow and then also have agency to shape that container in whatever way that they want. That is so special. How can listeners support your work this [00:21:00] summer? Whether that's showing up or donating or volunteering or spreading the word.  Pratik (ARU): One of the things is for the listeners, I feel like not a lot of folks know about Bhutanese community much. So yes, they speak Nepali. They sometimes they identify as Nepali because it's just easy. , Bhutanese folks normally identify as either Bhutanese or Nepali or American or any combination of those three identities. A lot of folks do not know, including folks from Nepal about the atrocity, the trauma that the community went through had to go through the forced persecution out of Bhutan and then living under very limited means while in the refugee camps in Nepal and even the number of challenges the community still [00:22:00] faces. I talked a little bit about mental health needs. There's. There are needs around, health seeking behavior and similar to other immigrant communities as well, but also, on education. Because of the historical division around caste and class and other demographic details, certain folks in the community are geared towards success versus others aren't. And we see that. We see the pattern quite distinct by their indigeneity, by their caste, by their last names. In our community you can tell what their caste is, what their ethnic background is with their last names. So I would invite the audience to learn a little bit more about this community and if you have that space and resources [00:23:00] to be, if you're a researcher, if you want to do some research studies, if you want to bring some programs. If you have scholarship ideas, if you want to create any scholarship for the kids in the community, or if you have means, and if you can donate, either or. It doesn't have to be just, financial resources. It can be sometimes being available as mentor to some of the kids to show them these are the possibilities. To summarize, learn more about the community if you don't know already including some of the new atrocities, the community's facing right now with ICE detention and deportation, even when the community was brought in to this country after years and years of approval through the process. And if you have resources and means help with knowledge sharing, being available or with [00:24:00] financial means either or. I just wanted to mention that I work with ARU and I work with the Bhutanese community, but like I said, I'm not from the Bhutan community. I grew up in Nepal. I speak the language, I understand the culture to a certain extent, but I definitely cannot speak for the experience of going and living as a refugee. So,, if you have any question, if you want to learn more about that, Cheryl and I, we are happy to put you in touch with folks with incredible stories, inspiring stories of resilience in the community. Cheryl (Host): Thank you so much. All of the links, whether to learn more, donate or get involved, as well as information about the disappearances impacting the Bhutanese American community will be included in our show notes. A huge thank you to Pratik from Asian Refugees United for joining us tonight. We're deeply grateful for the work you do and the love you carry for our [00:25:00] communities. To our listeners, thank you for tuning in. We're going to take a quick music break and when we come back we'll hear more about the summer programming happening across the AACRE network with folks from Lavender Phoenix, and Hmong innovating politics. So don't go anywhere. Next up, you're listening to a track called “Juniper” by Minjoona, a project led by Korean American musician, Jackson Wright. This track features Ari Statler on bass, josh Qiyan on drums, and Ryan Fu producing. Juniper is the lead single from Minjoona's newest release, the Juniper EP, a five track p roject rooted in indie rock, 60 throwback vibes, and lyric forward storytelling. You can follow Minjoona on Instagram at @minjoonamusic or find them on Spotify to keep up with upcoming releases. We'll drop the links in our show notes. Enjoy the track and we'll be right back. [00:26:00] [00:27:00] [00:28:00] [00:29:00] [00:30:00]  And we're back!!. You're listening to APEX express on 94.1 KPFA, 89.3 KPFB in Berkeley. 88.1. KFCF in Fresno and online@kpfa.org. That was “Juniper” by Minjoona.  Huge thanks to Jackson Wright and the whole crew behind that track [00:31:00] Before the break, we were live with Pratik from Asian Refugees United, talking about the powerful summer programming, supporting the Nepalese speaking Bhutanese community in Harrisburg, Pennsylvania. Now I'm joined by from Blair Phoenix. From Lavender Phoenix, who's here to share about her experiences as a summer organizer In Lav N'S annual summer in Lav N's annual summer organizer in Lav N'S annual summer organizing program. Hi Mar. Thank you so much for being here. Thank you so much for being here. Do you mind introducing yourself to our listeners? Okay. Mar, do you mind for our listeners out there who are just tuning in, do you mind introducing yourself? Mar (LavNix): Yes. Thank you, Cheryl. Hi, y'all. My name is Mar Pronouns, [00:32:00] she/siya/any! I come from the lands of the Ibaloi people in the Philippines or “Maharlika”. I am a queer Muslim and yeah, I'm just happy to be here. Cheryl (Host): Yay. We're so happy to have you here, mar! For those who might not be familiar, Mar is joining us from Lavender Phoenix as part of this year's summer organizing program. Mar,, could you start by giving our listeners a quick introduction to Lavender Phoenix? And then could you tell us a little bit about the summer organizing program and what it's all about? Mar (LavNix): Yeah, of course. Cheryl. Let's start with Lavender Phoenix. Lavender Phoenix is a really awesome nonprofit over here in the Bay Area who focus on trans queer, API. Work basically. I really love Lavender Phoenix because of their unwavering commitment to collective liberation [00:33:00] and the very specific focus and centering around trans queer API leadership because our leadership is often underrepresented and because there's so many intersections there, we need to have trans queer API leadership to be able to move the work. And so really fond of lavender Phoenix's ethos and mission values. This year for the summer 2025, I'm part of their summer organizer program, which is a cohort of organizers both emerging, established and wanting to learn, and we learn a lot of transformative interpersonal organizing skills, but also building our more technical skill sets alongside with that. So we're actually three weeks from graduation [00:34:00] nooooooooo!. Anyways, yeah, just really happy to be in this cohort. I'm feeling really aligned in that I am here and it is transforming me in the way I had intentions for when I applied for it. Cheryl (Host): Wow. It sounds like this was a really impactful program for you. I wanna know what kinds of projects are you all working on?  Mar (LavNix): Yeah, so it's really beautiful because it's not just like a single project the cohort works on, it's kind of a myriad of things. We have two folks who are doing projects with other organizations, and then we have the rest of the folks working on two projects within Lavender Phoenix's programming. And so for my group, my very awesome group, we are doing the River of Life Project, and the River of Life Project is a five week long cohort where we practice storytelling in a very vulnerable and honest way, and this is for the [00:35:00] purpose to really witness one another and to cultivate our storytelling skills because our stories and narratives is so important. There's whole states and governments trying to take that away from us, and so our project is to guide and facilitate this project and meet with members across rank. It's super cool seeing the different facets of lavender Phoenix come together and be down, to be in the act of vulnerability and honesty and that is their praxis for collective liberation. Yeah.  Cheryl (Host): Yeah. Yeah. That's so well said. And it's so important that we have these spaces to practice that vulnerability because we are so often punished for being who we are. Right. So, mm-hmm. These programs are so crucial as you have uplifted for us. I am so curious to learn more about this River of Life project, but [00:36:00] also before we even get to that, I wanna zoom out a little bit and focus on your growth and who are you now as you get closer three weeks from graduation?  Mar (LavNix): Ooh, that is such a beautiful question, Cheryl. Yeah. I've been really reflecting on how this program transformed me this summer and to bring us back to when I first applied. I first applied sometime in March, I believe. I remember 'cause it was around Ramadan. I was at a point in my life where I felt stagnant in my organizing journey. I would attend all these workshops, I would keep reading, but there was a disconnect in how my mind wanted to move next. So here we are in 2025, I was accepted into the program. I was like, yay, my people. And you know, [00:37:00] my expectations was met. In fact, it was exceeded. Very exceeded because I didn't know these things that i'm learning now. I didn't know how much I needed them until I learned them. In my time with Lavender Phoenix, as I'm reflecting to this point, graduation being three weeks out, I realized that before joining this cohort, my heart and my spirit was in a really bad place, and I think a lot of people could resonate. There's genocides, ethnic cleansings, and just terrible things happening all over the world, and there's like a dichotomy of people who are trying so hard and then there's a dichotomy of people who are unaffected by it. And so my spirit and my heart was so broken down seems really dramatic, but it wasn't being rejuvenated for sure. And so, being in this space and being in a [00:38:00] container that's just honesty and vulnerability and it's all rooted in each other's liberation really replenish that cup. The teachings and the knowledge and the wisdom that I'm getting, it's helping me add more to my North Star, which I'm really thankful of because I didn't know this is what I needed in March. Cheryl (Host): That is so beautiful. So much of what's going on right now by the systems that be, the powers that be, it's meant to isolate us and to make us feel exactly what you said. Capitalism isolates us and keeps us in that place because that's how it benefits . So Lavender Phoenix is summer organizing program, what I'm hearing from you is this revolutionary space that is counter to that. It's filled with hope and dreaming for a better world. So how is that being informed in River of Life, in the storytelling leadership development that you are developing within Lavender Phoenix's membership?  Mar (LavNix): Oh, yes. I'm [00:39:00] understanding the responsibility on how I move in this space. And so before the cohort of the River of Life project presents, it's actually gonna be me and another facilitator going to share our stories. And so we're also in the act of being vulnerable and honest and really wanting the others to witness us as we will witness them. We've removed kind of that superiority in that space. When I think of this, it brings me back to Freire's idea of an engaged pedagogy, but not necessarily like an educator and a student, but like removing hierarchies, which I think is really, a value that's rooted in, or lavender Phoenix is rooted in that value. There's no hierarchy, but there is ranks and we all see each other as equals. It's really beautiful to be able to see that and then know how I move in this [00:40:00] space to prepare our cohort. I hope that my storytelling, I can only hope, I do not know how it's gonna be received inshallah it's received super well. But I really do hope that they see how vulnerable I also get and how I'm doing this so that I could build deeper relationships with these people as I continue my journey with Lavender, Phoenix and to them as well. I hope these values, if not already present in our people, this project helps them cultivate that even further.  Cheryl (Host): I wanna ask what is something you want to share with our listeners who were in a similar space as you who felt lost and that they wanted something to grow in. What advice would you give?  Mar (LavNix): This is a really beautiful question [00:41:00] and So many things flooded my brain as you were asking this question, but i'm feeling more pulled and called to share this one thing . As I'm going through the summer organizer program, I really realized the importance of tending to myself so that I could show up for others. I have to be able to know how to advocate for my needs and what I need so that I can be in spaces with other people. It's so important that I know how to acknowledge my shame or whatever pain points I'm experiencing and let that not be a hindrance to the work, but integrate it in a way that I will tend to it, and by tending to it, I can continue doing the work. And I know it's really [00:42:00] hard to prioritize yourself when it feels like you should prioritize everything else in the world right now, but I am really learning that that's what I needed to do. When I say prioritize myself, I'm not saying oh, I need to go do this and I need to go drink all my water. Yes, also care for our physical bodies and our mental bodies, but also taking time to know who I am as a person and what I could offer to the movement, and knowing how to communicate to others in the movement so that I could show up as a better organizer. And so the final words that I will have to share is I hope everyone who's hearing this shows the love that they have for other people to themselves [00:43:00] too.  Cheryl (Host): That was so beautiful. What you just shared right now about tending to yourself that's part of the work too. And that's so counterintuitive, I feel. This project that you're leading, the river of life where the focus is so much on your story and honoring who you are, I think that is the true essence of what it means to be trans and queer. Showing up with your whole self and embracing that. And in turn, by doing that, you are holding everybody else too, that very practice. To find out more about Lavender Phoenix Mar, how can our listeners plug into Lavender Phoenix's work?  Mar (LavNix): Follow us on Instagram or check out Lavender, Phoenix website. We post a lot. Sign up for the newsletter. Volunteer. We're really cool. Or just look at the staff and see if anybody calls you and you wanna hit them up. We're so awesome. Cheryl (Host): Thank you for joining us on tonight's show, Mar, and for sharing your experiences on Lavender Phoenix's [00:44:00] summer organizing program with all of All of the links that Mar mentioned on how to stay in touch with Lavender Phoenix's work be available in our show notes as per usual. We are so grateful, thank you again, Mar! Next up, we're joined by Katie from Hmong Innovating Politics. Katie. Welcome, welcome. I'm so happy to have you on our show tonight. Would you mind introducing yourself to our listeners? Katie (HIP): Hi everyone. My name is Katie. I use she her pronouns. My Hmong name is ING and I mainly introduce myself as ING to my community, especially elders because one ING is my given name. Katie is like a self-assigned name. In my work with HIP I've been trying to figure out what feels more natural when, but I do catch myself introducing myself to my Hmong community. And yeah, I'm totally cool if folks referring to me as Katie Oring and my ask is just pronouncing my name correctly. Who are my people? Who's my community? I would say my community is my family. And then the young people that I work [00:45:00] with, the elders in my community, the ones who would like to claim me, my team. I would say Hmong women that I've met through some of the work that I do at my volunteer org, and oh my goodness, there're so many people. My friends, oh my gosh, if my friends are listening to this, my friends are my community, they're my people. They keep me grounded, alive and fun. My siblings. All of the folks in Fresno and Sacramento that have been a part of the spaces that I've shared at HIP and the spaces that we've created together.  Cheryl (Host): You are a community leader through and through . For folks who are listening and don't know, Hmong Innovating Politics is one of the AACRE groups and it has two different hubs basically in Central California, one in Sacramento, and one in Fresno. Katie, do you mind sharing a little bit about HIP and the work that you all do? Katie (HIP): Yeah. So, we are a power building organization and what does that mean, right? One is that we are [00:46:00] a part of empowering and supporting our community to become active change makers in their community. We believe that those who are most impacted by issues should also be the ones that receive resources and training to lead solutions and design, the dreams of their community. A framework that we use is called Belong Believe Become. We want to create space where young people feel their belongingness, know that they are rooted here in their community, and that they have a place. The believing part of our framework is that we want young people to also see themselves and see themselves as leaders. In their community and leadership can mean many forms, right? There's like passive and active leadership, and we want young people to know that there is enough space in this world for everyone in whichever capacity, they're choosing to show up in their community. The important piece of believing is that, believing that you also like matter and that your decisions are also impactful. And then become is that. [00:47:00] we share this framework and it's circular because we notice that some people can come into our space feeling like I know exactly who I'm gonna be. I know exactly what I wanna do, and feel really disconnected from their history and their, and the multiple parts of their identities. belong, believe become is cyclical and it's wherever you're at. And in this third piece of becoming it is that our young people know that they are leading the charge and transforming systems. That they are shifting the narratives of our community, that they get to own the narratives of our community, and that they are a part of the Power building our community as well. Cheryl (Host): Yeah, I love that . As we're talking, I'm noticing that you talk so much about young people and how so much of your work's framework is centered around young people. Do you mind giving context into that? So much of HIP's programming is on youth leadership, and so I'm wondering what does that look like programming wise and especially right now in the summer? Katie (HIP): Yeah, so it's more [00:48:00] recently that HIP has been identifying ourselves as a power building organization. Before we had claimed our work as base building, and this is through our civic engagement work for voter engagement and empowerment, and turning out the vote that, that is like what we, our organization was like centered on. Through that work, what we noticed was that like cycles and seasons after season, it was young people coming back and then they started asking are you all gonna have like consistent programming space for us, or is it just gonna always be around the election cycle? Through our civic engagement work, a framework that we use is the IVE model, integrated voter engagement. And that is that you are relationship building year after year, even outside of the election season. And so then it was how do we be more intentional about centering the people who are coming to us and centering the people who are shifting and challenging and pushing our leadership. And that was to [00:49:00] then move and prioritize the young people in our community. I think it's been maybe four or five years since this shift where we've really prioritized young people and really centered our work around youth justice. So then we had to create these spaces. Civic engagement work had primarily consisted of phone banking and canvassing and through that I think a lot of young people were then getting firsthand experience of this is like what it's like to be angry about these issue in my community. This is also what it's like to hold space for other people to go through and process their emotions. And then it was like, how do we train and skill up our young people to not only listen to their community, but be able to strategize and lead and take their ideas and dreams and put 'em into action. At the time folks working in our civic engagement programs were high school youth, college transitional age, young adults who are not in college. And we even had parent [00:50:00] age folks in our programs as well. In figuring out how do we better support our young folks was that a lot of young people were asking for more like designated space for youth that are in high school. The other request was can you all not be college based because not all young adults go to college in our community, yet we still wanted to access the programs. We had to strategize around these pieces. Also at the time when we were running civic engagement program, we were also building up our trans and queer work in the Central Valley and figuring out like what is HIP's place in this work? So that landed us into three programs. We have a program called Tsev which is TSEV. Um, and that means House in Hmong, but it's an acronym. It stands for Transforming Systems, empowering Our Village, and the reason why we named our youth program that is in the Hmong community, we refer to our community a lot “lub zos” which means village in English. And so that is why we wanted to name our program with something around the word village and then also [00:51:00] home, belongingness, right? We wanted our program to signify belonging. And so that is what landed us in this program. This program is based at a high school and we train cohorts of youth and the curriculum that we cover in all of our programs are pretty similar, but they are adjusted to be more relevant to the age group and the experiences that we are serving. So we have our high school program. We have our trans and queer young adult program called QHIP, queer Hmong intersectional Pride. And then we also have a young adult program called the Civic Engagement Fellowship, but I feel like we're gonna be revamping next year, so we might have a new name next year. And that one is, open to all young adults of all gender and sexuality. The projects that is focused in that is what's coming up on the election. So specific propositions and measures or whatever we are bringing to the ballot. And then with QHIP, it is very focused on intentionally building up leadership in the trans and queer community. [00:52:00] Yeah.  Cheryl (Host): You all tackle power building in so many different intersections, and I think that's so brilliant. You really tailor these spaces to the needs of your community and you're always listening to your community. That is honestly such a theme within the AACRE network. Could you tell us how these groups stay active during the summer?  Katie (HIP): Yeah! During the summer, we close off the cohort in June when the school year ends. And so we're actually in the assessment phase of this program right now. Our seniors throughout the summer go through a one-on-one exit with one of the staff in Fresno or Sacramento. After the senior exit closes out, then we'll be doing a overall annual assessment with all of the young people that were in the program this year. We're actually closing both these pieces out next week. We try to make things fun, right? So for the one-on-ones, we'll all come to the office and we'll have the one-on-one exit interviews and after that we'll go get lunch. somewhere cute, somewhere fun. Then with the end of the year evals, after we complete them for everyone, we'll just hang out. This [00:53:00] year we're planning to do like a paint by numbers night. And then we always somehow end up karaoking. For QHIP, our trans and queer young adult program we actually partner with Lavender Phoenix and have them attend the leadership exchange program that's happening right now. We did our own onboarding and then we celebrated the month of pride. And we also celebrated the trans march. Then after that transition into the leadership exchange program at Lavender Phoenix. After that program, I believe our lead members are going to be designing some projects this summer. And then they'll have the rest of the summer and hours to do their projects, and then we'll eventually close out with a retreat with them. Cheryl (Host): And for our listeners out there, do you mind giving a quick a preview on what lavender, Phoenix's leadership exchange program is and how you all work in tandem with each other?  Katie (HIP): Yeah. Okay. I know in the past, we've sent our more new to organizing leaders [00:54:00] to the leadership exchange program. This year the intention is that we wanted to send leaders from our community who might already have some organizing experience who have some experience in social justice and movement work. And so, during this I think some of my favorite things from the leadership exchange program is teaching folks how to ask for help. I think a lot of our young adults navigate their lives not knowing who to turn to for help and how to formulate and ask that is clear and supportive of their needs. So that's something that we really appreciate through the leadership exchange program. And another piece is mutual aid funding. Lavender Phoenix trains up leaders around fundraising support and that's something I'm really looking forward to our young people gaining. The other piece is ultimately training of trans and queer leaders in our community so that we can continue to sustain this movement and this lifelong work of trans and queer liberation. The leadership exchange program has been able to equip folks with very necessary skills so that they can continue to sustain trans and queer [00:55:00] leadership. I bring in the fundraising piece because, I think a lot of young people that I work with, they're so scared to ask for resource support, especially money. And I think a lot of it comes with our own family trauma around finances, right? So, I'm excited to see what they debrief about and what they reflect on.  Cheryl (Host): That's so amazing. It really sounds like all of these programs that you all do are really building up leaders for the long term of our movements. Asking for help is so related to navigating money, trauma and is so key in shaping liberatory futures. For folks out there who wanna get plugged into some of HIP's programming work, how can we stay in touch with you all? Katie (HIP): Our Instagram is the best spot. And then on our Instagram you can click on the little short link to sign up for our newsletter. We have some volunteer opportunities coming up in the month of August so if folks in the Central Valley wanna support with one of our community engagement [00:56:00] surveys, either to partake in the survey or to support us in doing the outreach and getting the word out so that folks complete the survey. There's two ways that you can participate with us. Yeah.  Cheryl (Host): Thanks, Katie, and of course all of those links will be available in our show notes. Thanks so much for coming on our show tonight, Katie, and thank you to our listeners for tuning in. We'll see you next time. [00:57:00] [00:58:00]  The post APEX Express – August 21, 2025 Sumer Programming in the AACRE Network appeared first on KPFA.

Actor Sean Dulake is part of the stellar cast of Amazon Prime's new Butterfly series, an espionage thriller set in Seoul, ROK, starring and executive produced by Daniel Dae Kim. What's unique about this spy show is that it revolves around the dynamics between a father and daughter, and a mother and son. Which of course, makes an already immensely complicated situation even more convoluted. As a hapa Korean American (from Arcadia, CA), Sean is also the co-founder of the highly successful Third Culture Content production company.

Another key SEPTA deadline passed, and now, according to the region's mass transit operator, due to a budget stalemate in the state legislature, there's no turning back from dramatic funding cuts. Will reduced service and increased fares go through as planned? We also learn more about the state of contract negotiations between the Philadelphia Federation of Teachers and School District of Philadelphia, and whether a strike could be on the table. Plus, hear about the inspiring ripple effects the Netflix smash hit summer movie “KPop Demon Hunters” is having on local Korean-Americans, the role a salvage company is playing in reconnecting former University of the Arts students with their works, and a decades-old cold case from Virginia that was recently connected to a missing child in Philly. 00:00 Intro 02:08 SEPTA deadline passes and still no state budget 07:58 Philly schools updates: impact of SEPTA cuts, potential teacher strike? 13:49 What Dugan's defection to GOP ticket means for Philly DA race 19:35 Cold case starts in Philly, ends in Virginia creek 25:10 Salvage company reunites UArts students with works 29:20 KPop Demon Hunters craze inspires local Korean-Americans Listen to The Week in Philly with Matt Leon and our team of reporters on KYW Newsradio every Saturday at 5am and 3pm, and Sunday at 3pm. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Send us a textBettySoo stops by the show to discuss her latest release, If You Never Go Away, Childhood trauma, Life, inspiration, and more. ********BettySoo's vocal prowess is a thing of wonder. A world-class instrument of deft phrasing and purity, a voice that knows when to hold back and when to dive in. At her own live shows, taking a verse onstage with friends or singing harmonies in sessions with Austin's finest, BettySoo sings with consummate loveliness and self-assurance. A voice that knows the roots of American music inside and out; coming from a most unexpected place –a diminutive Korean-American with a deceptively girl-next-door demeanor.They call it the live music capital of the world. Austin, Texas, is a city where the musical bar is set high. Since exploding on the Austin scene a decade ago, BettySoo has carved out an enviable niche among the very best the city has to offer.BettySoo is as Texan as they come.Raised outside Houston by first-generation Korean immigrant parents, educated at UT, she grew up listening to the Great American songbook and country radio. Older sisters led her to the world of singer/songwriters, and nights spent at The Cactus Café and Hole In The Wall turned her on to the legacy of Texas song.Her 2007 solo disc, Little Tiny Secrets, garnered heavy regional airplay; 2009's Heat Sin Water Sin produced by Gurf Morlix (Lucinda Williams, Ray Wylie Hubbard), provided building blocks to a national (and international) audience. In 2014, When We're Gone, co-produced with cellist Brian Standefer (Alejandro Escovedo, Terry Allen) placed her firmly in the first rank of songwriters working today.She's won the requisite awards: New Folk at Kerrville, Songwriter of the Year at Big Top Chautauqua, The Dave CarterSongwriting Award at Sisters Folk Festival, Mountain Stage's New Song.She's played the festivals –multiple South by Southwests, Kerrville, Calgary and more. And the radio shows –E-Town, Mountain Stage, WoodSongs, BBC 2 with Bob Harris.Her singing has been heard on Riverdale and Girl Boss, and her songs formed the musical backbone to Christine Hoang's 2017 play A Girl Named Sue, singled out by Austin360.com in their review as “gorgeous, moving ballads comment(ing) on the themes of the scenes they punctuate.”The future looks auspicious for BettySoo.In the Time of COVID-19, BettySoo cut a unique path through the broad streaming landscape --and as with everything she does, she approached it in a way that invites authentic connection, encourages compassion, and merits listening. Her weekly Nobody's Happy Hour via Zoom fostered an intimate and meaningful community and were hailed by many as one of the most creative streamed residencies anywhere.“In her own words, ‘I guess Asian-American songwriters aren't that common. At least, not in Texas.' Well, songwriting and singing of this caliber aren't that common anywhere." - No Depression******If you would like to contact the show about being a guest, please email us at Dauna@bettertopodcast.comUpcoming guests can be found: https://dmneedom.com/upcoming-guest Follow us on Social MediaInstagram: https://www.instagram.com/author_d.m.needom/Facebook: https://www.facebook.com/bettertopodcastwithdmneedomIntro and Outro music compliments of Fast Suzi©2025 Better To...Podcast with D. M. NeedomSupport the show

In this episode, licensed therapist John Kim gets personal about the mother wound - how it quietly shapes our self-worth, love life, and sense of safety. From a surprising MDMA journey insight to stories about his Korean-American upbringing, John unpacks what it's like to grow up without emotional warmth from mom - and how this absence leaves lasting imprints on both men and women. You'll learn: Why the mother wound isn't just a “women's issue” How emotional absence can be just as impactful as physical absence The different ways the mother wound shows up in men (approval seeking, caretaking confusion, fear of intimacy) and women (perfectionism, chronic self-doubt, boundary struggles) How it fuels unhealthy patterns like codependency, attachment insecurity, and emotional projection Practical steps for healing: naming the wound without blame, reparenting yourself, rewriting old relationship scripts, and doing inner child work Join the conversation! Have you noticed the mother wound in your own relationships or self-image? What has helped you start to heal? Share your story with us. Like this episode? Please LIKE & FOLLOW for more unfiltered conversations about love, identity, and the work of healing yourself from the inside out. Order John's new book, Break Up. On Purpose,⁠ ⁠⁠⁠⁠⁠⁠ HERE⁠⁠⁠⁠⁠⁠⁠ Jump into John's new Single. On Purpose app⁠ ⁠⁠⁠⁠⁠⁠HERE⁠⁠⁠⁠⁠⁠⁠ Follow John on Instagram⁠⁠⁠⁠⁠⁠⁠ HERE⁠⁠⁠⁠⁠⁠⁠ Find out more about John⁠⁠⁠⁠⁠⁠⁠ HERE⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today, Kaila Yu, author of the memoir Fetishized joins us to explore how Asian women are portrayed in the media. We discuss the impact of books like Memoirs of a Geisha and raunch culture from the 2000s, and talk about how much of the media we consume is internalized as women. We chat about how to ground ourselves in self-love instead of seeking validation externally.Find Kaila on Instagram @kailayu or on her website kailayu.com. Her book, Fetishized: A Reckoning with Yellow Fever, Feminism, and Beauty will be out in all stores on August 19th!Support the showFollow us on social media @eatyourcrustpod

This podcast episode delves into the intricate interplay between Asian American perspectives and biblical interpretation, prominently featuring Dr. Janette Ok's insights from her contributions to "The New Testament in Color: A Multiethnic Bible Commentary." The discussion centers on how diverse ethnic backgrounds can enrich our understanding of Scripture, particularly in the context of First Peter's exhortation for believers to embody unity and humility amidst societal challenges. Dr. Ok articulates the significance of diaspora and identity, elucidating how these themes resonate with contemporary Asian American experiences of marginalization and belonging. Through this discourse, we aim to confront preconceived notions regarding scriptural interpretation, advocating for a broader inclusivity that acknowledges varied cultural lenses. Join us as we explore the transformative potential of recognizing and embracing our multifaceted identities within the Christian faith.The dialogue between Joshua Noel and TJ Blackwell with Dr. Janette Ok unveils a profound exploration of Asian American perspectives in biblical scholarship, particularly through the lens of her contributions to "The New Testament in Color: A Multiethnic Bible Commentary." Dr. Ok, an adept scholar with a rich background rooted in the Korean American church, articulates the significance of understanding the Bible through diverse cultural lenses. The conversation delves into the complexities surrounding the interpretation of Scripture, emphasizing that the experiences and identities of Asian Americans are not monolithic. Dr. Ok elucidates how factors such as migration, heritage, and racialization inform the Asian American reading of biblical texts, thus enriching the theological discourse. As the discussion progresses, the hosts and Dr. Ok navigate the dichotomy of traditional interpretation versus contemporary approaches that embrace plurality, highlighting the necessity of recognizing various cultural contexts when engaging with Scripture. This episode serves as a clarion call for inclusivity within theological discussions, urging listeners to appreciate and integrate diverse voices into their understanding of the Christian faith.Takeaways: Dr. Janette Ok emphasizes the importance of understanding diverse perspectives in biblical interpretation, especially from marginalized communities. The concept of diaspora in First Peter illustrates the Christian experience of alienation and the need for community among believers. Asian American biblical hermeneutics offers unique insights by connecting cultural identity with theological discourse and scripture interpretation. The New Testament in Color commentary aims to enrich biblical scholarship by incorporating multiethnic voices and perspectives that challenge traditional interpretations. Janette Ok discusses the significance of recognizing one's social location when engaging with biblical texts to foster humility and interdependence. The podcast advocates for a deeper engagement with scripture that acknowledges the complexities of race, identity, and community in the context of faith. .Check out all of the other shows in the Anazao Podcast Network:https://anazao-ministries.captivate.fm.Be sure to check out new merch on The Whole Church store:https://my-store-e8a57d.creator-spring.com.Check out "The New Testament in Color" on Amazon:https://a.co/d/hxVS5rB.Wanna meet our hosts? Get your tickets to Theology Beer Camp 2025 to meet Joshua & TJ in St Paul, MN, this fall!

Jonny Somali is the world first viral nuisance streamer. Enabled first by YouTube and then Kick this little 5 foot s**t started in Japan by yelling at a Middle School student on a train where he kept glorifying the atomic bombing of Japan and scream Hiroshima Nagasaki do it again. A Korean American bystander from Texas intervened. Jonny would continue to ape around in Tokyp being chased form time to time. He'd get drunk and yell at people, walk into a restaurant and blare loud music. He praised Fukushima, illegally trespassed and had indecent exposure. When he went to Osaka a friend of mine knocked him out and knocked out his camera man as well. Jonny would end up only getting about 3 months in jail for all his tirades because he lied to the judge. Japan forced him to apologize and banned him from the country. As soon as he was out of the country he took back his apology and continued to trash on Japan.Other nuisance streamers followed coming to Japan and acting like ass clowns, climbing the walls of Osaka castle, doing pull up in holy sites creating a dance video in a children's grave yard. Disrupting the train system with break dancing and loud music. Broke cherry trees. They all around got paid by Kick to be professional ass clowns. One of these guys named Vitaly is sitting in jail in the Philippines. He found out. Somali continued his remorseful antics in Korea. He dry humps a child statue for comfort women aka rape victims. He blasted North Korean propaganda on a bus, chased people around with a smelly dead fish. Blasted sexual messages to kids at Lotte world (like Disney in Korea). He poured ramen on the floor in a 711 and then started throwing noodles at people. And worst of all he use Ai to deep fake himself with Korean women in a sexual nature and he used it again to make a man he didn't like appear nude with another man. So far he has pleaded guilty to 2 minor crimes acts 6 counts of obstruction of business and he has two counts against him for deep fakes each of which carries a year and change in prison. Today JS was late to court by about 8 minutes, they even sent Hanky-pu out to find him He pleaded guilty to playing North Korean propaganda music on bus 7011 on Sep 27th He pleaded guilty to playing sexual messages in front of kids at Lotte world. So he now has four obstruction of business charges and two minor crimes acts. Guaranteed jail time. Now the to big ones the deepfake charges. This idiot admitted to distributing the deepfakes but said he didn't make them. Distributing sexual deepfakes is the crime and what you're charged with you f*****g ape. So he has now pleaded not guilty while confessing to the crime unwittingly. Next trial in October 29 He could also face civil suits This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.ryandawson.org/subscribe

In this episode, Samuel Goldsmith sits down with renowned chef, broadcaster, and food writer Judy Joo. Dive into a lively conversation spanning Judy's incredible knowledge of Korean food, her new book on quick Korean recipes, challenges in male-dominated kitchens, and her fascinating life working on Wall Street. Discover the unique blend of Korean, American, and French influences that shape her cooking, and enjoy anecdotes about her early life, professional challenges, and culinary triumphs.Judy Joo is a Korean-American, French-trained chef, restaurateur, and TV personality based in London and New York. Known for her expertise in Korean cuisine and pastry, she is also an Iron Chef UK and owner of Seoul Bird, with locations in London, Edinburgh, Las Vegas, and New York. Judy's global culinary influence has been featured in The New York Times, Food & Wine, Condé Nast Traveler, and more. She's appeared on Today, Good Morning America, and The Talk, and is the author of three cookbooks. A Columbia University graduate in Industrial Engineering, she was the school's 2018 commencement speaker. Judy also serves on the Food Council for City Harvest in both New York and London and contributes regularly as a columnist to leading food publications.Subscribers to the Good Food app via App Store get access to the show ad-free, and with regular bonus content such as interviews recorded at the good food show. To get started, download the Good Food app today. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Beloved English classics scholar Dame Mary Beard offers wisdom on how to tackle the vast collection of the British Museum, and ponders the ethics and responsibility of retaining the cultural antiquities of other lands. Then a cartoonist shares his love of museums and how they transform us by illustrating memorable moments at his favorites across North America. And a Korean American travel writer explains why Seoul is an ideal introduction to traveling in Asia, and recommends a relaxing island counterpoint to the bustling, 24-hour capital. For more information on Travel with Rick Steves - including episode descriptions, program archives and related details - visit www.ricksteves.com.

✦ Grease is the word, and it's also the film we're screening for our next City Lights Cinema event. Join us at the Plaza Theater next Saturday, August 16, at 4 pm for a movie plus shenanigans. We'll have a couple of competitions ahead of the screening – one for the hand jive - the ridiculous patty-cake type routine that the entire graduating class at Rydell High does during the school dance, and we'll also be hosting a costume contest! So, throw on your favorite dancing shoes, leather jackets, and blue jeans and meet us at the Plaza Theater on August 16. Get your tickets now at WABE dot org slash events. ✦ Atlanta Influences Everything, as espoused by Tory, Ian, and Bem, speaks to the fact that what is local in Atlanta is national and even international. This is evident in the work of Korean American filmmaker Crystal Jin Kim. Her latest short film, Threadbeat Dad, was shot in Atlanta but is poised to reach the world. Kim joins City Lights Co-host Jon Goode, from her filmmaking residency in Jeju, South Korea, to discuss the film and her journey as a filmmaker. ✦ Brunching in Atlanta is practically a sport. There are strategies involved—arrive early to beat the rush of a crowd, or maybe you're a diner that prefers to make reservations. Regardless, you'll need good stamina to make it through bottomless mimosas and rich portions of pancakes and bacon. BUT in this economy, who has the money to drop $80 to $100 on breakfast food and drinks every weekend? In our new mini-series, Brunchin' on a Budget, we feature several delicious AND affordable brunch spots in Atlanta. On today's premiere installment, WABE Arts Reporter Summer Evans heads to Decatur to visit Pastries A Go Go. ✦ When we think of the European Master of Art, Atlanta might not be the first connection we make, but this story aims to revisit that assumption. Enter Athos Menaboni, an Italian-born artist, who moved to Atlanta in the 1920s. While here, he painted ceilings, murals, and even airplane interiors for Coca-Cola executives. But his most profound passion? Birds. From cardinals to crows, he painted them not just with scientific accuracy but with reverence. It led to him and his wife, Sara to publish Menaboni's Birds, a book now considered a Southern classic. City Lights Collective member Victoria Lemos shares more on this bit of Atlanta history. ✦ Are you a fan of music photography, but craving something more than a casual stroll through an exhibit? How about being surrounded by over 1,200 iconic images of rock legends, projected onto 40-foot-high walls, all synced to a high-octane soundtrack played through a state-of-the-art sound system? Amplified: The Immersive Rock Experience, now showing at Atlanta's Illuminarium, takes visitors on a full-body journey through the history of rock and roll. Created in partnership with Rolling Stone, the show blends legendary soundscapes with cutting-edge visuals to celebrate the artists and moments that defined generations. City Lights Collective producer Josh Thane sat down with creative director Brad Siegel to learn more about the making of this immersive experience. ✦ In our series, In Their Own Words, we check in with our artistic community. This is where they tell us who they are, what they do, what they love, and a few things you might not see coming. What things? Who knows, there's only one way to find out. Today, we hear from Atlanta actor Christopher McDonald, who recently appeared in Superman.See omnystudio.com/listener for privacy information.

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

Dumbfoundead aka: Johnny Park joins The Steebee Weebee Show for the 3rd time!!! We talk about: the restaurant Dan Sung Sa and their delicious beef skewers & jjigae, his thoughts on the newest SUPERMAN movie, the brilliance of GOODFELLAS-with some of the best scenes in cinema, star guests like Jack Black & Shia LaBeouf on BADFRIENDS, his upcoming book-SPIT(a memoir)-talking about his experience coming up in Koreatown-and the "battle scene", how he discovered Project Blowed-and discovering different artists, VEEMS: being the best coffee shop in K Town, the group Jupitersciples: being an all Korean American rap crew , and much much more. Go this week to: www.youtube.com/steebeeweebee to watch. More Johnny : https://www.instagram.com/dumbfoundead ** Now on iTunes:  https://goo.gl/CdSwyV ** Subscribe: https://goo.gl/d239PO Little Ray promises a Karma Boost if you join our Patreon: https://goo.gl/aiOi7J Or, click here for a one time Karma Boost. https://www.paypal.me/steebeeweebeeshow/2 More Steven: Instagram: https://www.instagram.com/quangou Bandcamp: https://steebeeweebee.bandcamp.com/ Itunes: https://goo.gl/PSooa0 Twitch: https://www.twitch.tv/steebeeweebee Send stuff to: 1425 N. Cherokee Ave P.O. Box 1391 Los Angeles, CA 90093 

Independent emergency physician Kenneth Ro discusses his article, "From survival to sovereignty: What 35 years in the ER taught me about identity, mortality, and redemption." He shares his deeply personal journey, from growing up as a bullied Korean American boy in Texas who used academic achievement as "armor," to a 35-year career on the front lines of the ER. Kenneth explains how the unprocessed trauma from his work—bookended by the AIDS and COVID-19 pandemics—led to a life of compartmentalization and addiction, creating two versions of himself: one who saved lives and one who sabotaged his own. The conversation explores his spiritual awakening and how he began to dismantle an identity built on perfection and pain. Kenneth introduces his new personal mission, the Nova Oath™, which evolves the Hippocratic principle of "do no harm" to "do more good" by prioritizing integrity, self-care, and presence over performance. This is a story of turning scars into scaffolding and choosing to consciously write a new, more honest chapter in life. Careers by KevinMD is your gateway to health care success. We connect you with real-time, exclusive resources like job boards, news updates, and salary insights, all tailored for health care professionals. With expertise in uniting top talent and leading employers across the nation's largest health care hiring network, we're your partner in shaping health care's future. Fulfill your health care journey at KevinMD.com/careers. VISIT SPONSOR → https://kevinmd.com/careers Discovering disability insurance? Pattern understands your concerns. Over 20,000 doctors trust us for straightforward, affordable coverage. We handle everything from quotes to paperwork. Say goodbye to insurance stress – visit Pattern today at KevinMD.com/pattern. VISIT SPONSOR → https://kevinmd.com/pattern SUBSCRIBE TO THE PODCAST → https://www.kevinmd.com/podcast RECOMMENDED BY KEVINMD → https://www.kevinmd.com/recommended

Today we put our friend caps on and think about what we would do in sticky situations with our friends. We talk about how we would react if our friend confessed they were cheating, or if a good friend started hanging out with our opp, and other tough situations!Support the showFollow us on social media @eatyourcrustpod

In Gary Shteyngart's new novel, “Vera, or Faith,” a precocious 10-year old Korean-American girl, with a curious mind and exceptional vocabulary, navigates her way through a dystopian nearfuture. The politics of this America, in which a constitutional amendment to give “exceptional” white Americans more voting rights is being considered, are confusing. But even more so is Vera's complicated family life that includes a dead mother, a scattered and self-involved father, and a stepmother who Vera is not sure loves her. Reviewers have called the book a “brilliant fable.” We talk to Shteyngart about the future and families. Guests: Gary Shteyngart, writer, Shteyngart's latest novel is "Vera, or Faith" - he is also the author of "Our Country Friends," "Little Failure: A Memoir" and "Super Sad True Love Story" Learn more about your ad choices. Visit megaphone.fm/adchoices

The National Security Hour with Col. John Mills Ret. – Mina Kim, a Korean American, sees firsthand how the youth vote is transforming both America and South Korea. Using Turning Point USA's positive approach, they reach young people who are tired of left-wing indoctrination. Build Up Korea helps create new media and inspires the next generation to defend freedom and shape a better future for both nations...

What does it mean to be a philanthropist in a community that historically hasn't seen itself that way? What if associations not only advocated for their members, but also mobilized them to give, together?In this episode of Associations Thrive, host Joanna Pineda interviews Kyung Yoon, President and CEO of the Korean American Community Foundation (KACF). Kyung discusses:How KACF was born out of a dinner conversation among Korean American professionals who wanted to give back to their community.The impact of the “model minority” myth on Korean and Asian American communities, and how it can obscure real needs.How KACF started with a grassroots “Dollar a Day” campaign to fund grants to Korean American nonprofits.Why KACF chose to become a community foundation and what that means for how they raise and distribute funds.How KACF has distributed over $17 million in grants since its founding in 2002, including over $3 million last year alone.The broad range of issues KACF funds to build economic security, from food insecurity to housing, health, and domestic violence.KACF's commitment to systemic change, not just direct service, funding advocacy, and policy change efforts.How the Giving Summit engages the Korean American community in thoughtful, intentional philanthropy.How receiving a grant from MacKenzie Scott validated KACF's work and expanded its impact.Kyung's vision for a future where Korean Americans see themselves as funders and philanthropists with the power to uplift their own communities.References:KACF WebsiteMusic from #Uppbeat (free for Creators!):https://uppbeat.io/t/zoo/clarityLicense code: RQWZMZXYSBVT16ZW

The National Security Hour with Col. John Mills Ret. – Mina Kim, a Korean American, sees firsthand how the youth vote is transforming both America and South Korea. Using Turning Point USA's positive approach, they reach young people who are tired of left-wing indoctrination. Build Up Korea helps create new media and inspires the next generation to defend freedom and shape a better future for both nations...

Dreams in Migrations: AAPI Identity, Diaspora, and Resistance in Contemporary Art In this special live episode of What's My Thesis?, host Javier Proenza moderates a closing panel discussion at BG Gallery for Dreams in Migrations—the third annual AAPI (Asian American and Pacific Islander) exhibition curated by artist and organizer Sung-Hee Son. This timely conversation assembles a multigenerational roster of artists whose practices interrogate identity, memory, imperialism, and the myth of the model minority through distinct formal languages and lived experiences. Featuring artists Dave Young Kim, Mei Xian Qiu, and others, the episode moves fluidly between personal narrative and structural critique. Kim speaks candidly about growing up Korean American in Los Angeles, navigating ADHD through drawing, and finding community through both art and street culture. He reflects on his work's deep connection to place—evoking the layered histories of Koreatown through archival images, signage, and symbolic compositions. Mei Xian Qiu offers a moving account of displacement, spiritual ritual, and postcolonial trauma. Born into Indonesia's Chinese diaspora, she discusses her early artistic impulse to create “sacred objects” as a means of processing survival and systemic erasure. Her multimedia works—reminiscent of stained glass and batik—expose the mechanisms of propaganda and the cultural inheritance of violence. Her series Let a Thousand Flowers Bloom revisits China's Hundred Flowers Campaign with a provocative inversion: a mock invasion of the U.S. staged entirely by AAPI artists and academics. Together, the panelists explore diasporic kinship, cross-cultural solidarity, and the politics of visibility within the art world. Proenza draws compelling parallels between the AAPI and Latinx experiences, from forced assimilation and linguistic loss to state violence and Cold War geopolitics. The conversation challenges the flattening effects of labels like “model minority,” advocating instead for nuance, specificity, and coalition-building. The episode concludes with reflections on the power of artist collectives, including the Korean American Artists Collective co-founded by Kim, and a roll call of exhibiting artists whose works are transforming the gallery into a space of resistance, celebration, and shared memory. Featured Artists in the Exhibition: Dave Young Kim Mei Xian Qiu Bryan Ida Tia (Otis MFA ‘23) Miki Yokoyama Key Topics: AAPI identity in fine art Postcolonial trauma and Chinese-Indonesian history Korean American experience in L.A. Propaganda, memory, and resistance The myth of the model minority Artist collectives and community organizing Explore how contemporary AAPI artists are reshaping cultural narratives and reclaiming space through radical aesthetics and collaborative practice.

Visit Good Morning Gwinnett For More NewsA transformative political shift is emerging in Gwinnett County, Georgia, where two Democratic candidates are launching ambitious campaigns that could reshape the region's political landscape. Their efforts represent a significant challenge to traditional Republican strongholds and highlight the evolving demographics and priorities of this crucial suburban battleground.In House District 106, Akbar Ali has stepped forward as a groundbreaking candidate following Rep. Shelly Hutchinson's departure. As a first-generation American and small business owner with deep roots in the Gwinnett Democratic Party, Ali brings both fresh perspective and practical experience to the race. His "New Generation" campaign directly addresses the pressing challenges facing district residents, with a particular focus on affordable housing, civil rights protection, and healthcare accessibility. Ali's campaign message resonates strongly with local concerns, as evidenced by his pointed observation that "Healthcare is out of reach, housing is unaffordable, and the families that built this community are being pushed away."The strength of Ali's campaign is further demonstrated by an impressive roster of endorsements from influential local leaders. Support from Gwinnett County Commissioners Kirkland Carden and Ben Ku, District Attorney Patsy Austin-Gatson, and State Senator Sheikh Rahman underscores his credibility as a serious contender. These endorsements suggest broad confidence in Ali's ability to effectively represent the interests of working families across Snellville, Lawrenceville, and Lilburn.House District 99 is witnessing an equally compelling political narrative with Michelle Kang's return to the campaign trail. Her previous bid demonstrated remarkable potential, coming within just 621 votes of defeating Republican incumbent Matt Reeves - a near-victory achieved without substantial support from political action committees or party infrastructure. Kang's renewed campaign carries forward momentum from this close contest, with her emphatic declaration that "This time, we're finishing what we started."Kang's platform presents a comprehensive progressive agenda that addresses multiple facets of community need. Her policy priorities include implementing universal childcare subsidies, establishing rent stabilization measures, expanding Medicaid coverage, and strengthening protections for immigrant communities. As a Korean American immigrant herself, Kang has taken a particularly strong stance against Georgia's controversial HB 1105, which requires local law enforcement to collaborate with federal immigration authorities. Her grassroots campaign resonates deeply in the diverse communities of Suwanee, Duluth, and Sugar Hill.These campaigns reflect Gwinnett County's dramatic evolution from reliable Republican territory to competitive political battleground. Both candidates represent a new wave of progressive leadership that mirrors the county's increasing diversity and changing demographics. Their platforms emphasize grassroots engagement and focus intently on addressing the everyday challenges facing working families in their districts.The timing of these races adds strategic significance to their campaigns. Ali's special election will serve as an immediate test of Democratic momentum in the region, while Kang's 2026 rematch against Reeves will help determine longer-term political trends. As Kang notably observed, "House District 99 isn't red or blue—it's ready," suggesting these races may transcend traditional partisan divisions.The emergence of candidates like Ali and Kang, with their focus on affordable housing, healthcare access, immigration reform, and public education, signals a potential watershed moment in Gwinnett County politics. Their campaigns represent not just individual races but a broader movement toward progressive policies and diverse representation in one of Georgia's most dynamic regions. The outcomes of these contests could have far-reaching implications, potentially influencing the balance of power in the state legislature and offering insights into the future direction of Georgia politics.These races exemplify the changing face of suburban Georgia politics, where increasingly diverse communities are demanding representation that reflects their experiences and addresses their needs. The success or failure of these campaigns will likely serve as important indicators of political transformation in similar suburban districts across the state and region.Become a supporter of this podcast: https://www.spreaker.com/podcast/good-morning-gwinnett-podcast--3262933/support.

What if the darkest moments of your life aren't sent to make you miserable, but to show you how to experience more joy in the face of tragedy?Join Matt O'Neill and New York Times bestselling author Angie Kim as they explore the revolutionary concept that suffering can actually enhance your capacity for happiness. Through her gripping novel "Happiness Falls," Angie reveals how tragedy, uncertainty, and even crisis can become unexpected pathways to deeper joy and meaning.This isn't your typical happiness advice. This is about understanding the relativity of happiness—why lottery winners and accident victims end up at the same happiness level, and how your baseline expectations shape everything you experience. You'll discover why comfort might be killing your joy, how adversity builds resilience, and the counterintuitive truth that wanting what you already have is the secret to lasting happiness.Whether you're facing your own crisis or simply wondering why all your comforts haven't made you happier, this conversation will transform how you think about joy, suffering, and what it really means to live a fulfilled life.0:00 Introduction1:43 How tragedy inspired a happiness story5:49 The mystery of always appearing happy8:04 What people get wrong about happiness11:21 The backpacking happiness experiment14:15 The lottery winner vs. paralysis study17:59 Why tragedy can make you more grateful20:04 How early adversity builds resilience21:05 Learning to live with uncertainty25:07 When characters take on a life of their own27:46 Protecting vs. building resilience in children28:39 Finding joy in the midst of despair30:48 The secret to lasting happinessResources Mentioned:

Today our friend Sunny joins us to talk about food in the household! We reminisce on what eating at home looked like in our childhood and any food-related habits our parents instilled into us. We explore how our families handled snacks, fast food, and sharing, as well as any phases our households went through in our eating habits. Support the showFollow us on social media @eatyourcrustpod

Hannah Ryu is a storyteller, AI Strategist, and the co-founder of Oak Theory, a creative technology studio specializing in UX/UI, web, application design, and development. We explore: Co-founding a creative technology studio, aiming to address the lack of diversity in UX design firms.  Confronting negative self-talk/narratives when building a business The role of perfectionism in Korean culture The exciting utility of AI in creating tailored educational information for children, increasing accessibility to education Use of AI for self-reflection and as a starting point to engage in therapy How to maintain being human through curiosity, accepting that we make mistakes, and unconditional love ========================================== Hannah's full bio: Hannah is a storyteller, AI Strategist, and the co-founder of Oak Theory, a creative technology studio specializing in UX/UI, web, application design, and development. With over a decade of experience across branding, UX/UI, and digital strategy, she partners with organizations navigating transformation, helping them turn complexity into clear, scalable experiences.  As a first-generation Korean American and mother of two, Hannah brings a layered lens to leadership, blending creative instinct, cultural awareness, and operational know-how, especially during times of growth, change, or reinvention. Her expertise has been trusted by industry leaders and universities like Google, Optum, Columbia University, and Vanderbilt University. She's been featured at the Women in Tech Global Conference, on the top 0.5% business podcast The UpFlip Podcast, and in outlets such as Forbes, Success Magazine, and Entrepreneur. The company's websites are oaktheory.co and undertheoak.co. Under the Oak is a media company that seeks to discuss how to be more human. Socials: https://www.instagram.com/oaktheory.co/ https://www.linkedin.com/in/hannahryu/ 

The Mada & Hugh Piano Duo, composed of Romanian-born pianist Mădălina Dănilă and Korean-American pianist Hugh Sung, captivates audiences worldwide with their innovative 4-hand piano performances. Their award-winning collaboration brings a dynamic range of music, from unique classical pieces to dazzling arrangements of popular tunes. They are proud to be official Petrof Artists, representing the esteemed Czech piano brand known for its warm, romantic tone and exceptional craftsmanship. Mădălina, an internationally acclaimed concert pianist, has triumphed in prestigious competitions such as the International Piano Competition in Vigo and the Charleston 20th Century Music Competition. She was personally invited by renowned violinist Anne Sophie Mutter to perform a solo recital at the prestigious Ruhr Klavierfestival in Germany, marking a significant milestone in her career. Hugh Sung, renowned as one of the finest collaborative pianists of his generation, has performed with eminent musicians and worked extensively with the Philadelphia and Baltimore Symphony Orchestras. As a former faculty member of The Curtis Institute of Music, co-founder of AirTurn, and an educator at ArtistWorks, Hugh has significantly influenced the music community. Currently, he serves as the Vice President of Cunningham Piano Company. Together, Mădălina and Hugh create unforgettable concert experiences, blending their exceptional talents and shared passion for music to inspire and delight audiences around the globe.   https://madahugh.com https://patreon.com/madahughpianoduo   Thanks for joining me on Crushing Classical!  Theme music by DreamVance. You can join my email list HERE, so you never miss an episode! I help people to lean into their creative careers and start or grow their income streams.  You can read more or hop onto a short discovery call from my website. I'm your host, Jennet Ingle. I love you all. Stay safe out there!    

Episode Summary: In this week's episode of your favorite Korean (& Asian) Adoptee podcast, the Janchi Boys sit down Mei Tomko and talk about growing up in the age of OG Youtube and embracing your asianness, doing the most with what you've got, and building things that last.Later we get into some Bibim Chips by Paldo…did they just make this to promote their sauce?!Meet Mei!On Instagram as @postnostalgia!Buy her artwork @postnostalgiaprints!Check out her Adoptee Resource Database!---// 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.

In this insightful workshop from the 2024 Rooted Conference in Dallas, Dr. Danny Kwon explores how to cultivate a youth ministry culture that embraces intergenerational integration. He unpacks why connecting generations within the church is vital to discipling students for a lifelong faith in Jesus, and offers practical steps for how you can implement intergenerational ministry in your unique context.Danny Kwon, Ph.D., is the Senior Director of Youth Ministry Content and Cross-Cultural Initiatives at Rooted Ministry. Prior to joining Rooted, Danny served for 29 years as the Youth and Family Pastor at Yuong Sang Church, a bicultural and bilingual Korean-American congregation outside Philadelphia. He is married to Monica, a Christian counselor and psychologist, and together they have three children.Rooted Resources:Book Review ‘Faith Beyond Youth Group' by Kara Powell, Brad M. Griffin, and Jen Bradbury by Danny KwonWhen Intergenerational Integration Feels Impossible by Skyler FlowersFollow @therootedministry on Instagram for more updates Register for Rooted 2025 Conference in Chicago Follow @therootedministry on Instagram for more updates andSubscribe to Youth Ministry Unscripted wherever you listen to podcasts

Dave starts off by walking through the career path of today's returning guest, Chef Edward Lee. He is then joined by Edward, and they talk about Edward's new role as a celebrity chef in Korea; his new restaurant, SHIA; being a Korean American; bourbon, and much more. Dave closes by answering an Ask Dave question about fruit leftovers. Learn more about Edward's restaurant SHIA here: https://shiarestaurant.org/ Read the OpenTable article on SHIA's sustainability here: https://www.opentable.com/restaurant-solutions/resources/shia-sustainable-restaurant-practices/ Watch Chef & My Fridge here: https://www.netflix.com/title/80176931 Watch the previous episode with Edward here: https://www.youtube.com/watch?v=1D4yyQp9rQU&t=3364s Watch Culinary Class Wars here: https://www.netflix.com/title/81728365 Watch Dave in Mexico City for NASCAR here: https://www.youtube.com/watch?v=VrMYc23DFrg Learn more about Pujol here: https://pujol.com.mx Follow @littlemeg on Instagram here: https://www.instagram.com/little_meg_siu_meg/?hl=en Watch the DCS episode with Sean Gray of Sergeantsville Inn here: https://www.youtube.com/watch?v=9QqnKhLO5Cs Send in your questions to https://forms.gle/wdPsZBXXx48Zq4vu8 or askdave@majordomomedia.com. Subscribe to the show on YouTube: https://www.youtube.com/@thedavechangshow. Subscribe to Recipe Club on YouTube: https://www.youtube.com/@recipeclubofficial. Submit your favorite food moments in your favorite movies to majorfoodporn.com. Join our community Discord on majordomo.com.  Hosts: Dave Chang Guest: Edward Lee Majordomo Media Producers: Kelsey Rearden and David Meyer Engineer: Chris Thomas Editor: Stefano Sanchez Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today our friend Jimmy joins us to discuss the various ways we approach our meetings - from pre-meeting chitchat to miming reactions on camera. We talk about taking on roles in meetings, like being a note taker or the jokester. Support the showFollow us on social media @eatyourcrustpod

The director Celine Song won over audiences and critics alike with her first feature film, “Past Lives,” the semi-autobiographical tale of a married Korean American woman meeting up with her former childhood sweetheart. Now Song is back with another story about love called “Materialists.” This time the main character is a matchmaker, a job that Song did briefly in her early 20s.On this episode of “Modern Love,” Song reads Louise Rafkin's Modern Love essay “My View From the Margins,” about a relationship columnist who can't figure out love in her own life. And Song tells us how neither falling in love at age 24 nor making a career of writing about love has brought her any closer to understanding it. “It's the one thing that makes me feel like a fool,” Song says.For more Modern Love, search for the show wherever you get your podcasts. New episodes every Wednesday.  Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify.

The director Celine Song won over audiences and critics alike with her first feature film, “Past Lives,” the semi-autobiographical tale of a married Korean American woman meeting up with her former childhood sweetheart. Now Song is back with another story about love called “The Materialists.” This time the main character is a matchmaker, a job that Song did briefly in her early 20s.Today on the show, Song reads Louise Rafkin's Modern Love essay “My View From the Margins,” about a relationship columnist who can't figure out love in her own life. And Song tells us how neither falling in love at age 24 nor making a career of writing about love has brought her any closer to understanding it. “It's the one thing that makes me feel like a fool,” Song says.Here's how to submit a Modern Love essay to The New York Times.Here's how to submit a Tiny Love Story. Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify.