Gościem Mikołaja Lizuta był Ekke Overbeek - dziennikarz i pisarz, autor książki ''Maxima Culpa. Jan Paweł II wiedział''.
Back on the podcast is the one and only Shelby Houlihan! For those who aren't familiar, Shelby made the US Olympic Team in 2016 and holds the American record in both the 1500 meters (3:54.99) and 5000 meters (14:23.92). She also was part of a team that set a World Record in the women's 4x1500 meters relay with a time of 16:27.02. Prior to her years as a professional with Nike's Bowerman Track Club, Shelby was a 12-time All-American at Arizona State University. Today's podcast with Shelby is, quite frankly, just catching up since we last talked! In this episode, Shelby takes us through her recent pursuit of getting a master's degree in Sports and Performance Psychology as well as her recent training. We also dive deep into many interesting and even philosophical questions, such as the importance of presence, the power of conversations, the biggest lessons Shelby has learned from life, treating others how you wish to be treated, surrounding yourself with positive people, and much much more! We also discuss the monotony of post-race interviews, the best BTC kit of all time, and how Miko and her new dog are doing. Shelby is always so full of wisdom, knowledge, and ebullience. I know you'll find deep value from listening to this conversation, and hope you enjoy it as much as we did recording it. You can listen wherever you find your podcasts by searching, "The Running Effect Podcast." If you enjoy the podcast, please consider following us on Spotify and Apple Podcasts and giving us a five-star review! I would also appreciate it if you share it with your friend who you think will benefit from it. If you really enjoy the podcast, consider sharing it on social media to spread the word! The podcast graphic was done by the talented: Xavier Gallo. S H O W N O T E S -GET YOUR FREE SAMPLE PACK OF LMNT: drinklmnt.com/therunningeffect -Our Instagram: https://www.instagram.com/therunningeffect/?hl=en -Shelby's Instagram: https://www.instagram.com/shelbo800/?hl=en --- Send in a voice message: https://anchor.fm/dominic-schlueter/message
Christine Burns is the CEO and co-founder of the Walt Institute in Melbourne Australia. Originally from New Zealand, she has always been an active individual living life as a hockey player representing her country around the world. She credits her many years in sports and overcoming adversities such as serious leg injuries and a cancer diagnosis for giving her an unstoppable mindset. As you will discover, Christine is an articulate speaker with one of the most positive and vibrant attitudes toward life, I have encountered. Christine will tell you that she works with people to help them develop strategies to “bust through the status quo, be seen, be heard, and be the best version of themselves every single day!”. Our conversation during this episode is far ranging and by all means quite enjoyable. I hope you enjoy what Christine has to say. Please let me know what you think. About the Guest: Christine Burns (BA Psych, PG Dip Sport Bus Mngt, MIPPA) is the CEO and Co-Founder of WALT Institute. She is a New Zealand born lecturer, author and performance coach. She inspires people to take action, stand up for what they believe in and not get stuck in the trivia of life. As a former elite athlete in hockey for New Zealand, she has over 20 years of coaching, sport psychology and performance expertise which she brings to the global arena of Authentic Leadership. Typically, she works with individuals and teams in STEM to provide the strategies to bust through the status quo, be seen, be heard and be the best version of themselves every single day! With a solid achievement in sport, Christine represented New Zealand in indoor hockey and graduated with expertise in psychology, sport psychology, exercise science and business management. Through sport she learned resilience and tenacity which helped her overcome a cancer diagnosis in 2016. She is a dynamic and engaging presenter who will have you experiencing moments of joy and enlightenment. As an author she has recently published her book ‘Igniting Resilience: overcoming the despair of receiving a death sentence', articles in American Reporter, Yahoo finance, Medium, London Daily Post, California Herald and Thrive Global. She teaches people how to rise to any challenge, overcome the tough times and bounce forward with limitless possibilities. How to Connect with Christine: Book Landing Page: https://ignitingresilience.waltinstitute.com/igniting-resilience-book WALT Institute LinkedIn: www.linkedin.com/in/elizabethchristinewaltinstitute Christine Burns LinkedIn: www.linkedin.com/in/christineburnsperformancecoach Christine Burns Twitter: https://twitter.com/Christine1Burns Christine Burns Facebook: https://www.facebook.com/ChristineInspires Christine Burns Instagram: https://www.instagram.com/christineburns.nz/ Website: https://www.waltinstitute.com/ About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog. Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards. https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/ accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/ Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below! Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can also subscribe in your favorite podcast app. Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts. Transcription Notes Michael Hingson 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us. Michael Hingson 01:21 Welcome to unstoppable mindset. Today, we get to interview Christine Burns. And of course, I'm your host, Mike Hingson. Glad to be here. And I want to thank you for being here with us. Hopefully you enjoy our episode today. And I want to hear about it afterward. But Christine is Gosh, what can I say about Christine burns, she is a lot of things. She's a New Zealand born lecturer. And I would say that the most important thing to say about Christine, she inspires people to take action stand up for what they believe in and not get stuck in the trivia of life. And just before we started recording, we were talking about all the stuff going on now because it's for all of us as we record this, it's getting close to the holidays, and all the things and all the drama of people dealing with the holidays, and so on. So Christine, love to hear your thoughts on that. But first, welcome to unstoppable mindset. Christine Burns 02:20 Thank you so much, Mike for having me on here. I feel privileged to be here with you. This is this is just awesome. This is amazing. Michael Hingson 02:27 So let's talk about the holidays and everybody preparing and all the crises that everybody is starting to have. Christine Burns 02:34 Yeah, it sounds nice. As we're talking before, I'm just writing a blog for our business world Institute. And just noticing the ramp in I say madness, and craziness of people when the end of year panic and got to have stuff done before the end of year. And then there's all the pressure for the people who you know, doing things around Christmas or holidays or taking breaks. And it's just rising the panic of madness. The craziness is just on the rise. Michael Hingson 03:04 And of course, part of the issue is, if people were more strategic, they might have gotten some of that stuff done earlier in the year. Christine Burns 03:13 Yeah, this and that is I love it. That's exactly one of the points that I brought up in there is that we, you know, we the general week, most people try and squeeze so much into the last two weeks or two months, they get to November, and it's like, oh my gosh, we have to have everything done. And so a whole lot of you know, what could be three or four months worth of work get squeezed into two months? Because haven't planted earlier. So if we'd looked at this before and planned it, it'd be fine. It'd be all sorted. Michael Hingson 03:43 Yeah, I've never been one for making lists. And I try to keep everything in my head. And I do that deliberately. I want to keep off Alzheimer's, you know, but I also, but I actually do Value Lists. And for me, lists now are putting reminders on to my Amazon Echo or things like that. And that way, I get reminded, and I deliberately tell it when I want to know about something. And so I guess I'm planning because what I do is I say remind me on such and such a day about this. And that way, the day does get really organized. So I don't write down list because writing it down is kind of out of sight out of mind if I put it even in Braille on something unless it comes up and I hear something or in your case, if you see something, what good is it so you can put a list on a wall and that's great. And that's important to do. So I guess my alternative to that is using electronic reminders or putting things in my calendar, even if it's just reminders and that works really well but it is important to plan and not get yourself trapped in the end of the year crisis. Christine Burns 04:54 And it is it's it's something that we notice with a lot of the people that we work with And I know that I used to, I used to always turn around and say, you know, golf settings overrated. Writing down lists is overrated and, and the more I've gone through things and realize how important it is to be organized and plan ahead. And that's something that I've really noticed is that the more I've looked at long term rather than short term all the time, then I have my I choose to do list each week. And I have it on a refill pad. And I have that with me all the time. So that it is it's, it's in front of my face whenever I'm sitting down anywhere, and I've got it with me right here right now next to me, so that it helps me do it. It's like planning is it makes life so much simpler and easier? It's just, yeah, I don't know why we don't do more of it. Michael Hingson 05:45 I know, I know, I have reminders in the system that will be brought up at the appropriate time by the echo. But also because I have it all programmed all hear it on my iPhone, if I'm not here or whatever. But I've got things that go out into the middle of next year, just that's the time I choose to deal with a particular thing. And it's all in the plan. Christine Burns 06:09 Yeah, and and it is it's, I mean, it's something I used to put, it's kind of weird, because I used to plan a lot for my hockey stuff. But I didn't plan in my own studies, or I didn't plan initially in our work stuff, because it was like, ah, in a workout, it'll be okay. And I used to just think I'd be able to fly by the seat of my pants. That was something that I'd say to myself a lot, even when I was teaching and lecturing, but I fly by the seat of my pants would be okay. And it never worked as well as when I planned it. Michael Hingson 06:38 Well, I'm used to organizing things in my brain. So the reality is most of those reminders, I'm going to remember anyway, but that's good. It is nice to have a fallback position on what technology does for us, right. Christine Burns 06:52 It's great when it works. And it's diabolical when it doesn't, and we can Michael Hingson 06:57 pick on it. So it's okay. Well tell us a little about you growing up and the early the early World of Christine. Christine Burns 07:06 Christine, I was funny. I was on a podcast the other day. And the lady said to me similar kind of question. And I was like, Oh my gosh, no, I had, I had a great childhood. I'm not one of these ones that can go oh, this happened. And that happened. And this was terrible. And things did I mean, you know, it wasn't all you know, rose tinted glasses. And it wasn't all hunky dory. But the thing was, it was kind of like my mum and dad, a brother both passed away now but they're both from Scotland. And you know, Dad's this six foot four big beast. And Mum was five foot half an inch. And the pair of them were just crazy fun. And it was it was awesome. And I just had a great time growing up, I learnt so many things from them. And I put so many of my learnings from them into everything that I did each day. I loved going to school, I enjoyed school, I was never top of the class I was you know, study hard and work hard and I'd get my 55 or 56%. And, you know, on a good day, I might use 70 something. But I just worked hard at it. And I chose I chose to make things work for me. And I think a lot of that was my learnings from Mum and Dad and and it was growing up in New Zealand was yeah, pretty free and easy. Really it was it was good times and in you know, play on the street and play with the neighbors and it was great fun. Yeah, it was good fun. Michael Hingson 08:31 And you know, that's that's kind of the way a childhood should be of course everybody has different experiences but what do you think you learn what's probably the most important thing or things that you learn from parents said as you said, had a lot of fun you had a lot of fun with them and so on What did you bring away from all that? Christine Burns 08:52 I think the and I've used it all the time is the one liner that my mum used to say often was these always away and and it wasn't you know, dad had his own business and mum did all the books and so it was you know, even when times were getting a little bit tougher, a little bit stretched and mum would be like there's always a way we can work this out. And so to have there's always a way and everything was just fun. It was like you know, it wasn't it wasn't a takeaway or minimize things it was to enjoy the moments. I think those were the definitely those were the key things really Michael Hingson 09:28 well, it's important to figure out a way and all too often we experience or find people who just can't move on or something happens and I don't know how to do with anything with that. I can't do that. I hear it all the time. You know one of my favorite examples of that is I use a guide dog and my eighth guide dog Alamo is down here being bored he's heard me talk on these podcasts before and he says where my bones but I hear so So many people say, Oh, my dog could never do that my dog would never be that well behaved. And I laugh when I hear that. I try not to do it out loud. But I laugh when I hear that to say, well, whose fault is that? Are you saying your dog is dumb? Or don't you understand that really, most dog training is really human training. And your dog could do that, if you would but take the time to teach your dog and to establish rules. Hmm. Christine Burns 10:29 So if I was talking with someone in the park the other day, and that was something you know, it's not about dog training, it's about training us as humans as training us as owners. And, and I and it is, it's all about our mindset. It's, it's what we choose, as our response or reactions to everything. I mean, I've been through similar situations to different people that I'm aware of, and that I know of, and we've had very different outcomes. And it's like, same thing Alamo can sit there and enjoy it and just go, You know what, this is kind of cool. And I'll listen to Mike and see whoever else is around and but you know, see, it's a choice. It's, and that's what I tend to do the same and mostly laugh on the inside when people go, I can't do this or never work out. That hurts me though. And when I hear people say, ouch, out, you poor thing. That is yeah, I almost feel sad in a way. Michael Hingson 11:22 Yeah. Because life is about choices. Christine Burns 11:27 Yes, it is. It's always about choices. And it's, it doesn't matter what happens. We can choose, you know, we always have a choice of and not to put a judgment on it. But it's that thing of what can go well, for us or what's right for us, and what can go against us or what isn't right for us in its itis Yeah, I think it's a tough thing when people allow external situations or allow other people to keep control of their life really, or they disempowered themselves and give it away. Yeah. Michael Hingson 12:02 You have clearly an extremely positive outlook about life and people and so on, which I love. But what is cause you to have such a positive outlook? Was it just your parents or what really brings that positive outlook out for you? Um, Christine Burns 12:19 I suppose it can't totally be my parents, because my sister doesn't have that same view. I think we like to Oregon cheese. I think it was, for me, it was the I played a lot of sport when I was young. And I think I learnt coming through the ranks that you know, like it was even sport, even school, I was like, if I'm going to get anywhere, I'm not going to have to work hard at it. It's that thing of like, when I put in the effort, I get good results, or I get good outcomes. And I noticed that I noticed the effort in the as the energy that I put into something. And then I saw what I got back from an hour I enjoyed it. I just now I don't know, I love learning. And it's like, why not learn more, you know, if I can learn a lesson from something, and then it allows me to move forward, friggin do it. Like it's, I don't know, it's easy to keep positive about it and have an optimistic perspective than get caught up in the BS? Michael Hingson 13:21 Well, I think you really just hit it. When you said you love learning you you worked at learning. And you recognized that there's value in learning and you can grow from it. And we, when we stop learning, then we really are shutting ourselves down because learning is part of everything we do. Christine Burns 13:41 Yeah, it is. It's and I mean, I, I think it's you know, I find it difficult when I'm not difficult or challenging, I suppose when people you know, haven't been involved in learning things or playing sport for me, you know, my first port of call talking about anything is to go back to sports situations and then put it into work situations, because it's my, it's my quickest way to transfer that learning for me. It's like, okay, what would I do on the hockey field? Or what would I've done on the softball, you know, diamond or whatever? And then go, Okay, here's how or here's what I can do now, to take that next level. And it's at the you're not learning, man, you're just I think you're missing out on life. Really. Michael Hingson 14:22 It's not just the learning. It's also putting the knowledge to use. Christine Burns 14:27 Yes, yeah, the implementation of it is is just that that's key to me is that you can have so much knowledge you can you know, I've got a bookcase here, behind me another one upstairs and chock full of books. Now those books don't get it done. Because they're pretty much they've all been written on or got post it notes inside them. And I so often go in and out looking at those and talk to people and ask questions so that I can I can keep implementing it because it's like, well, why have knowledge sitting on a shelf that's pointed Less why? Why just be an information seeker? You know? Michael Hingson 15:04 Yeah. And then hopefully you when you try to share it, find people who are of like mind and and they will absorb. Christine Burns 15:14 Yeah, yeah. I mean, it's like yourself, you know, I mean you you know, you know talking to people and in getting through things yourself and accomplishing a whole lot of things in life, it's, you've got to implement it, you've got to find the people around you that are that are like minded that keep you going as well and in challenging times. And I mean, you know, you're, you're well aware of that. Yeah, Michael Hingson 15:37 yeah. And it isn't necessarily at all just deliberately sharing knowledge, it's being yourself. And then when is when you can share and contribute. That's as good as it gets. And it isn't forcing someone to listen to what you have to say. But rather, it is being like minded and combining knowledges from more than one person, which is always great. Christine Burns 15:59 Yeah, I mean, I love to just sitting down having really, a really solid, always have to be philosophical, but really solid, good, interesting conversations. I'd rather do that than then talk superficial BS and talk about the winner. You know, I love having cool conversations like these. It's it is just brilliant. Yeah. Michael Hingson 16:21 One of the things I think I'm I know, it's not just in this country, but one of the things that that I miss now, especially in later times, is the real art of conversation. I think it's fun to have political debates, for example, to talk about the issues. But so many people now don't want to do that, oh, you can't possibly be right. And they don't open up the opportunity to learn or to explore. And it's not about trying to make anyone change their opinion. For me, the discussions are about learning and understanding more of what what other people's views are. And talking about mine as well, which do we evolve? And, and I would hope that whenever I had, and now, we can't do it as much in the politics world. But when we have discussions, I would hope I learned and I know that over the years, I've changed my views on some things because of conversations that we've had it now we're losing that art of conversation across the board, because of what's going on with politics. And people don't want to think about options, alternatives, or anything else. I'm right, you're wrong. And that's all there is to it. Christine Burns 17:39 Yeah, I was I was laughing because it was, I remember our Christmases, we used to go up Christine Burns 17:46 to family, friends and dad and we used to call it anti knitter. And, and they'd always end up in arguments to do with politics. And it was it was good, though. It wasn't it wasn't like a negative battle. You know, I'm right, you're wrong. It was it was it was an opening of, of, you know, what sort of seemed like an argument, but they had always ended up discussing things really well. And and I think, you know, even today, people do, they're so scared, because it's that thing of going, Oh, what's that person gonna think of me if I say this, or they're not gonna like me, or they won't accept or approve of me? If I say or have this belief, and I just, I struggle with that. Because it's like, like you say, how else do you learn? How else do you have this ability to even be open to other people's ideas? It's just different. It's not right. It's not wrong. It's just different. And I think it's, I think that is one of the things that we are losing these days here. Michael Hingson 18:43 And it isn't even necessarily all that different. If we really communicate like religion. Everybody argues about what religions right or wrong, it seems to me that if you look at the, the major religions in the world saw the same God. Christine Burns 18:57 Exactly, yeah, I remember learning of some of my students, because they had, when I came over here to Australia, I had, it was, you know, for the one to Peter was it was like the League of Nations in my classes. And I was like, Oh my gosh, and so I would just ask them, you know, because I was really curious and interested to find out where these people were from and what their beliefs were, and to find out, and in the end, I was like, hang on a minute. That's pretty much all the same here. There's not a lot of differences. If you start to look at it, some of them were okay with that. And some of them being decided that that wasn't appropriate, but it was the thing, okay. It all comes back down to very similar beliefs. You know, there's, there's not this this big separation that that many people tend to identify. It's quite a narrow focus or a narrow belief really, of where it all comes from. Michael Hingson 19:47 It is indeed and that's what really makes it interesting when people come to that realization. Well, we talked about your Oh, go ahead. Christine Burns 19:59 I was gonna say So it's an interesting thing to have this ability to realize it to notice it to see it, I think it's the intersect, I think is quite cool to to be able to be in an environment where you can actually talk like this and have these conversations is Michael Hingson 20:14 brilliant. Yeah. Well, talking about your positive outlook and so on, or to put it in the parlance of the podcast being unstoppable. What are three things that that you find or that you believe, really helped to create an unstoppable mindset? Christine Burns 20:31 I mean, we've talked about before, I think the first one is to is to learn and learn about self, you know, to really get a self awareness and have this ability to tap insight so that we know, we know who we truly are, it's not this superficial BS or fitting into some box, it's, it's knowing who we truly are. The thing also is to, is to have the ability to, for me, it's kind of weird, because I say to be physically active as well. So I think, to be physically active, kind of helps our our ability to keep moving to keep that momentum going for us, and it helps us change our state. And then it means that, you know, obviously, our mindset flows from there. And I think the third one is to surround yourself with like minded, awesome, amazing people. Michael Hingson 21:22 Yeah, and the, and the and the existing in the in the reality of surrounding yourself with like minded people, doesn't mean that you don't want to have other views like minded people doesn't necessarily mean that they have the same opinions you do. But they have the same philosophies about learning and so on, and they can absolutely have different views. One of my favorite people is the founder of the National Federation of the Blind, Dr. Jacobus tenBroek, who founded the National Federation of the Blind here in the United States in 1940. He and his wife were not of the same political party, they were one Democrat and one Republican. Oh, and I never knew him, he died of cancer before I got to meet him, but I knew his wife well. And one of the things that she said is we had very intense arguments and very intense times where we talked, but we talked, and it was fun, to be challenged by somebody else, who understood that it's all about the challenge and all about the discussion. And we both learn from each other. Christine Burns 22:39 Yeah, I just think it's the, it's where I think the self awareness comes in of going, I'm okay, and secure and myself to have a different opinion. And I'm okay. And I'm safe within myself to be able to say something and to also deal with someone having having a difference of opinion. I yeah, I think the privacy before the art of conversation is, is kind of like a dying breed, unfortunately. But it's, it's something that when people have it, it makes stronger relationships, too. It's it's stronger, create stronger connections and stronger relationships with people. Michael Hingson 23:16 Sure. And I think it's also appropriate to say that I'm okay with myself, to the point where if somebody says something that I find makes more sense than what I believe I'm willing to reevaluate and reassess. There's not an absolute. Christine Burns 23:35 Yeah, I love that. Yep, bingo. Yeah. It's, it's a biggie for, for people to admit that to, you know, for people to admit mistakes, or for people to even not even to go that far, but to be in that space to go. Sure. I didn't think of that. Oh, wow. Yeah, quite well. I'm gonna add that to my toolkit, or I'm gonna step into thinking about that now. Yeah, Michael Hingson 24:00 I thought is huge. There you go. Well, you're originally from New Zealand, but I know you're in Australia. Now. When did you move? Christine Burns 24:08 Um, I moved over here in 2011. So I'd always mum and dad had lived. They've come out from Scotland in New Zealand. They had lived here in Melbourne for three years. Man loved it. Dad hated it. So they went back to New Zealand. And then dad died. 2008 Mum died 2011 Then she died in the June and then it was like, what's left in New Zealand? Yeah, not much. And then I've always wanted to go live in Australia. I might do that. Mum loved it. Why does she love it? I'll go and find out. And so I came over here and my partner actually had shifted over here and it was like, Okay, enough of this long distance relationship. Let's sort this out. And over I came and it was just, it was just amazing to I'd always wanted to, to Go somewhere else and to live somewhere else. And so it was Melbourne, you know, why not? It's gonna do it. Yeah. Michael Hingson 25:07 And you must love it, you're still there. And it's now been about 11 years. Christine Burns 25:12 Originally, it was like, Oh, let's see what it's like for a couple of years. It see what a site for two or three years, and then it sort of expanded to five years. And then yeah, 11 years later, I'm still here. And so we've got our business and things and, and it's, it's, I love the city. I love Melbourne as I really enjoy having the option, I live in a suburb, but I do love going into the CBD and just having the bigness and the, the, it's great. It's a great city, it's all like the big city kind of thing. I still miss New Zealand, you know, like New Zealand has always homeless, you know, always in the heart kind of thing. But a couple of times of going hard work being more than a couple few times of going home, it's like, it's almost like New Zealand seems to get smaller and smaller, and just being the difference. That is it. So people used to talk about busy time, it's like these six cars on the road. It's kind of it's become that kind of, you know, they're adopted into a big city person, but it's I love it. The people are different, you know, like there is a difference and how that goes down. I don't don't mind. Australians are different to New Zealanders. I thought they used to be very similar. They're quite different people. So at times, at times, I struggle sometimes with just the different thoughts or the different approaches to life. It is quite different to kiwis, but the city life is awesome. Love it. And it's it's good for our business being here in a bigger country as well. It's helping us to get our country to get our business going as well. Yeah. Michael Hingson 26:44 Does Australia have as many of the earthquakes that New Zealand experiences? Christine Burns 26:52 No, which is good. But we did have I think it was last year it was last year, we had a 6.6 point something and boy that rocks that. Yeah. Yeah, it was a holy crap. Thank goodness it had it was quite deep, because it would have been quite disastrous otherwise, because Australia is not used to that kind of stuff. You know, we had earthquakes all the time in New Zealand. And one of the places I used to live in APA hat, I was right, the back of the place that I lived in was right on the back of the hill. And that was a fault line. So that was very much shifting and moving. And that was that was okay. And then came here. And it was like yay, no earthquakes. And it was one not long after I arrived. And then there was another big one last year. So that was that was pretty freaky. Making you Michael Hingson 27:42 feel at home. I grew up on the San Andreas Fault. And a couple of weeks ago, I was actually up in the northern part of the state. And I was there for some speaking engagements. And I was sitting at a desk in a hotel room when suddenly I felt the ground start to move and it wasn't too bad. It was only a 5.4. So it was a baby. That's right. Yeah. But by the same token, I noticed it. And it was it was interesting. And I'm going oh, okay, an earthquake. The two, three years ago, we had one. But 100 miles from our home here in Victorville. And if I recall, right, that one was about 6.5, or 6.6. And that afternoon, or actually, the next day, I was traveling to Las Vegas for a convention. And I went in the hotel to a place to eat that night. And the ground started to move. So I immediately called my wife and it moved pretty significantly. So I called my wife. And she said, yeah, it just happened here. And it was like 6.9 on the same fault that we felt the other one from. So I'm very glad that our house is only six years old, and is kind of made to those standards to be able to cope with it. But we did and there wasn't damage in our home. And apparently there wasn't much damage to any of the homes around us. But they do happen in this part of the world. And I always laugh when the people in the eastern part of the country say Well, I wouldn't want to live out there with all the earthquakes. And as I point out to them, you guys are killing off a whole lot more people with hurricanes and tornadoes and explosions of frozen pipes in the winter than we ever do. Michael Hingson 29:34 Oh, you know, what do you do it? Nature is as it is and we go on? Well, I know in your in your life. Have you had much experience or much exposure to any kind of adversity? Because I would think that there have been some things that maybe happened that made you stronger. Just a couple of things. Oh, there you go. Christine Burns 29:58 Well, yeah, I mean, it's I think probably when I was growing up playing sports and stuff, I had injuries and things and, and that was that was okay. And I had one of the biggest ones that I had as I had both my Achilles debrided. So I had scar tissue on both my Achilles and they were really bumpy. And the surgeon said to me, Look, the only way that we're going to be able to sort this out is if we if you have surgery on both at the same time, and I was like, You're kidding me. And she was like, yeah, and then they're both going into plastic to make sure that you can't run around and move. And I was like, okay, because she knew me quite well. And so that was pretty tough. Like that was the surgery went well. And then I was on plaster casts on both legs. So that was full lower league plasters on both, I could put weight on one very slightly. And that was about eight weeks of not being able to do much and that really liked that test of me i that really got inside my head, and I am was definitely not the person I am now of course not. But I didn't even have anywhere near half the skills or abilities that I have now at back then I just like didn't cope well with it. And it tested me. And really, it really pushed me in the sense of working out what I wanted to do who I wanted to be. And the coolest thing was, is that six months later, I was in Canada playing indoor hockey representing New Zealand. So I again, I saw the thing of going through the tough time dealing with it and coping with it. It relatively okay, I wouldn't say I did it well, but I did it. Okay. And then I got myself back on deck. And the other thing more recently, I mean, it's been a few things. But you know, probably the biggest things is in 2016, I had a cancer diagnosis, which came out of the blue, I certainly didn't expect that at all. And so then I had to go through the whole treatment thing for for cancer diagnosis. And BF So then finally, I think was last year yeah, in the what was beginning of December last year, I got the all clear. So got picked out of the of the oncology unit, which was quite nice and kicked off the list. So that was all good and got the all clear. And that. I mean, that prompted me I wrote a book that came out of it as well. But that was that was a scary moment getting that phone call of going, hey, you know, we got the pathology results back and you've got endometrial cancer. And here's the deal. And I stood the if I remember standing in the kitchen of the place where I used to live, and I just stood there and I swore profusely for the first 30 seconds when I was on the phone with the surgeon. And then after that I just was like, right, and I made a decision right then and there. And when you guys do your thing medically, and I'll do my thing mentally, physically, emotionally and spiritually, and it's, I practice what I preach, basically, and, and came through it pretty well. Yeah, came out the other end pretty well. Michael Hingson 32:59 And that's the real issue, isn't it that you decided to do what you need to do mentally to move on? And yeah, that helped, I would think prepare you for whatever happened medically. Christine Burns 33:11 Yeah, and it did. And it was it was really cool. Because they, you know, I had I had such an awesome team that my radiation oncologist she is I was still in touch with her yesterday, actually. She's She legendary. She's just the most amazing person. The people that I had my surgeons were amazing. Just everybody that I had around me was was just awesome, really cool people, you know, and that was, I mean, a lot of it obviously, is my attitude to them, and, you know, brought the best of myself out every single day it was they said, Look, you know, we want to do chemo, we want to do this, we want to do that. And I said, right, tell me what and why and how. And they will make a decision. And when I spoke with purely their radiation oncologist, she said, here's what we want to do it. Here's the protocol. I was like if we got anything else on offer, and she was like, well, we could do this and just have radiation. And here's what what the plan is because she had just been involved in our research project dealing with that particular protocol. And she said, here's the outcomes that we're getting. And here's the other stuff we've done alongside it. So I said hey, let's let's give that one a go. And so we went for it, and it was it. I committed to showing up every day as my best self and it really it was like they did to even even down to the mean i that the radiation therapists and things like that, that were in the receptionist, everybody, it was just every connection I had was was really awesome. Yeah. Michael Hingson 34:41 Who would you say are role models for you today are people who influenced you and kind of made you who you are. Because you you've got a lot of conviction. You've made a lot of very solid decisions. And although mental makeup is is a wonderful thing, I would think that You've had some people who influenced you to help you shape those positions. Christine Burns 35:05 Yeah. I mean, I'd say, you know, my mom sounds like a superhero, I think she has, I think my mom made a big impact on me the whole way through, and it was even things I fall off my bike, and I'd hear mom from somewhere down the street or somewhere, somehow, even if it was inside my head, going, can't get back up on you go get on with it. And I'd be like, Oh, shit, okay. And it was just that thing to get up and go again. And that really made an impression on me. So I think mom was a massive impact in there. And she, you know, she was she was a five foot half an inch Pocket Rocket, you know, it was like, if she can wear six, six inch heels and run across gravel, then, you know, it's pretty good to see. A she Yeah, she had a massive impact. And my coach as well that I've had for quite a few years now as Linda bellshill, Busan, and she, she lives in Norway. She's a French Canadian, and her her ability to call me on my BS. And, and she just taps in real fast, you know, like I, she's, she's the most amazing, wrong English. But question asker that I have ever come across? She just, yeah, taps inside, and it's like, wow, where the hell did that come from? And, and the challenge and growth that I've got from that experience with her is just amazing. And I think he is. I mean, there's, there's lots of people along the way that definitely the two that I could go background, you know, definitely those two people is, there's lots of people around the place that I've picked up things they've seen, or I've seen stuff. Yeah, I don't know, if I'd be able to specifically name a third, there's, there's many people here that I've seen heard read stuff, that kind of thing. Michael Hingson 36:57 You know, a lot of people, I suspect probably haven't been in some ways for both of us as fortunate as we were in that we had people who challenged us. For me, I agree with you, parents are more important than my, my parents were both very positive. And although not necessarily always, in visible ways, but mentally certainly pushed me. Because they said, you know, no matter what people tell you, you may be blind, you happen to be blind, but you can do whatever you choose to do. And we're gonna give you the opportunities. And I think the only way I could have disappointed them is if I didn't take advantage of the opportunities, because that's what it's really about. And so I hear exactly what you're saying. And there are so many people who say, well, but that's the way it is, you can't really go beyond it. That's just that's just life. And my reaction as I can tell yours already is well, it isn't just that's the way it is isn't. Christine Burns 38:04 Yeah, it's a thing of whatever you want it to be. I mean, and that's one of the things that I see here, those kinds of things that you're gonna have, you know, what do you mean, like, so if you want to, you know, whoever you want to be, friggin be it, that it's like, you can create whatever you want to create. And there's, you know, I often love the things when people say, you know, no one's coming to no one's coming to save you, and in, you know, whatever belief or thought people take out of that, and in a way, I totally believe it's true. It's like, you know, the person that's going to make the difference in this life as us individually, it's, it's, you know, we're the ones who can make our own life worth living, or we can make our life hell and it's our choice to do that. And I just think it's like, whatever you want, get on with it, man, and go and do it. Michael Hingson 38:54 All and the reality is, I think there are a lot of people who come can come along and save you in a lot of different ways. It depends on what you define as safe, because there's a lot of community around all of us if we would take advantage of that, and respected. It amazes me that people who always just go, why, and, you know, my response always to that is, why not 39:22 love it? It's Michael Hingson 39:25 so important, but you know, we, we really need to recognize that. opportunities are limitless if we choose. And you said it earlier. And I think it's a very important part of this. It's all about choice, isn't it? Christine Burns 39:41 Yeah, it is. It's it is always about choice. I mean, I look at the difference between myself and my sister and I mean, she's been on the wrong side of of the law and all these kinds of things and you know, that she's done it. And we grew up in the same same environment, you know, and we chose There's different pathways. I've got friends that I grew up with, and they've chose different ways of living chose, you know, they've chosen different pathways for them, their families, or whatever it is. And it's, we always have a choice. I think, you know, so many people wouldn't even our clients go, No, you don't, you know, sometimes we don't have a choice, right? Well, you actually do, it's always a choice, even though there's always that choice not to choose. So it's, it's still a choice. Yeah. Michael Hingson 40:30 One of, for me, the most significant examples of that, of course, is the World Trade Center and being in the World Trade Center on September 11. And escaping. And, you know, people said, Well, you didn't have a choice, you were there, you're just lucky you got out. And the response is, no, there are a lot of choices. And the fact is, I could have chosen different jobs and not been in the World Trade Center. But I chose the life path that I had. And I was in the World Trade Center. And I correct, I didn't have any choice about the terrorists attacking the buildings. And I didn't have any choice about what happened directly to the buildings, there is I can tell. But even though I couldn't control so many things, if nothing else, I can control my own mindset. And so I am a firm believer in Don't worry about the things that you can't control, focus on the things that you really can't control, and the rest will take care of itself. And the one thing we always have control over, no matter how bad circumstances become, we always have control over our mind and how we mentally deal with things, which is what you talked about with cancer. Christine Burns 41:44 Yeah, yeah, it is. I mean, and that's one of the things there that I always say is, you know, control the controllables. And, and exactly like you say, it's we've got control over our mindset, we can, we can choose how we show up, we can choose what our thoughts are going to be, we can choose our response, our reaction to things and it's, I think that's, that's, that's one of the key things is it makes the difference between the people that and carry on and can get through adversity or can get through even the most exciting and amazing times as well is to go and you know, what I choose to savor this moment I choose to, I choose to be present, and I choose to enjoy this moment, instead of running off worrying about what maybe kind of would, you know, could have happened. It's we choose to be in those moments. And it is it's, you know, control the controllables, which is for me, I always say it's your top six inches kind of thing. It's like you control your thoughts, which makes a massive difference. Michael Hingson 42:41 Well, you know, we may, for example, rent a home, and the landlord comes, says you got to be out by the end of the month, don't have any control over that, right. But we do have control over how we deal with it. And it's may be very frustrating. There may be so many things that happen. But by the same token, it's still a question of how we deal with it. My wife passed away this past Saturday, I didn't have any control over that. But I realized all the more and more since that happened, how much I have control over how I choose to deal with it. And I know, after almost 40 years of marriage, what it what it means to love someone that deeply and she's always going to be missed by me. And I will deliberately make sure that she's always missed by me. But still, it's time to move forward, in in whatever way is possible to move because I didn't have control over what happened to her directly. But I know what I can do. Christine Burns 43:45 Yeah, yeah. And like you say, it's the choice. And it's, I mean, the coolest thing that I remember talking about with my coach Flinders, you know, it's this thing of like, we feel grief, or we feel sadness, because we'd love so much. And I think that when you're when you're talking, it was like it to feel the feels, you know that that's what helps to make us human, that's what helps to allow us to grow and develop as when we feel all the fields and in to be self aware and choose to allow ourselves to do that. Because that that's what I mean, that's, that's what makes us well helps to have us being you know, such a well evolved being kind of thing and when we can feel the feels and talk about things and, you know, share that and talk about it. I think it's that's what allows us to be able to move forward as well. Because if we try and hold on to stuff and shove it down and and deny it or, you know, say that, you know, no, no, no, it's all okay. It's all okay, which is BS. When we share that that true feeling of who we are. That's That's what I think it really allows us to keep moving forward. Michael Hingson 44:50 Well, you went to school, went to college. Christine Burns 44:54 Yes, I did. Yep. Michael Hingson 44:56 Yeah. And then what did you do? So I went to Christine Burns 44:59 school. So I went to university. And then I Michael Hingson 45:05 did you get a degree in? Both Christine Burns 45:07 did psychology and I am laughing because I did psychology because I thought it would be easy. And that way I could still get my student allowance and I can keep playing hockey and I was like, Yeah, that was just what it was. And so I went there, and I ended up staying at University for about six years. So I did, I did psychology, and then I got a scholarship to go to another university still within Palmerston North, in New Zealand, and, and do exercise science. And then from there, I carried on doing sports psychology as well. And so I just sort of stayed at university because it allowed me to have money and play hockey, which was great. And I never thought anything of it, because I was like, I don't want to be a psychologist, I don't want to I remember talking to one of the girls in our team and the hockey team. And she was a psychologist, and she was like, ah, burnsy Because it was when that can get busy. I don't think you know, being a clinical psychologist is really for you. So she told me about some of the stuff she was doing. And I was like, yeah, now that's not made me I'm not doing it. And then I wish I went in got a job at one of the gyms in Palmerston North side. So I used my exercise science degree with that one. And then, because I was still playing so much hockey, I was playing for Wellington, which was a different province. So I was traveling two hours, you know, like four or five times a week, and it was just crazy. And they said, like, you know, burnsy Why don't you just get a job down here and shift and I was like, I here's a good idea as you're traveling, let's let's do that. Lift and Wellington got a job. They're teaching and Exercise Science. And then I'm already doing it, then I became program manager of the program. And yeah, it was just me. And so we incorporated positive psychology with exercise science. And it was just Yes, that's kind of evolved. Really? Michael Hingson 47:00 Yeah. playing hockey all the time. Christine Burns 47:04 Yes. And so I would often miss the beginning of the year with the students because I'd be away overseas for indoor hockey. So you know, when students would arrive, they'd do all the normal, you know, early stuff and getting to know everybody. And I totally would always miss that because I'd be away somewhere. And then I'd come back and then you know, go for it. But it kind of made it easier. Because I could say, you know where I've been and what I've been doing and Exercise Science students thought that was pretty awesome. So it kind of kind of made it easy to get back on track with being really clear. Michael Hingson 47:36 So you were doing hockey sort of professionally, while you were doing other things as well. Christine Burns 47:42 Well, I saw I was doing it nearly full time. It wasn't professionally because we didn't get paid for it back. Michael Hingson 47:48 So you paid hockey team. No, Christine Burns 47:51 I mean, we even the The tough thing was sometimes we would even pay it. I mean we'd pay for our flights, accommodation. A lot of the times we weren't even paying out for the shirt that we were playing. You know, New Zealand hockey would pay for some of our staff at subsidized bits and pieces, but definitely got nothing anywhere near the funding that people get nowadays. We were Yeah, that I mean, so we were raising money making pizzas and all sorts of stuff to be able to travel. Michael Hingson 48:23 So were there professional hockey teams, or were you kind of what would be today a professional hockey team and player. Christine Burns 48:31 I would probably the relative now would probably be be a professional player. Yeah. For who we were and what we were doing back then. Yeah, yeah. Michael Hingson 48:39 Cool. Well, you obviously enjoyed it and had a lot of fun with it, and so on. And what caused you finally to stop doing it? Or have you really stopped playing hockey? Christine Burns 48:51 Yeah, I have stopped. I was actually I was playing an outdoor game, actually one of the times back home and in Wellington, and I don't know, it was just weird. And it was an outdoor game. And I was hitting in to the turf to play and I was like, this might be my last game. And I was like, what Where did that come from? So we the royal we in my head had the conversation of like, oh my gosh, what where that come from? And I was like, I need to keep doing this. This is crazy. And I drove into. So it takes about 45 minutes to get to the turf and Wellington from where I was. And I drove in. We won our game. I never touched the ball because I played in goal and I never touched the ball at all that game and I was bored. And I came off the turf. I took my gear off and I zipped up my bag and I went that's it no more. I'm not playing outdoor. I'm not playing indoor and I was like, Whoa, that's pretty freaky. Because it was it was my whole identity of who I was. That was you know, that was that was the abre thing. And then came over here to Australia and I when I was teaching Monash University, I spoke to someone there and they were like oh I could come and coach him colleagues and I was like, Yeah, okay, that's easy. So I did that I did some coaching over here for a while but yeah, didn't didn't carry on playing and I, I kind of miss it but I also done it. Yeah. Michael Hingson 50:13 Kind of one of those kind of do kind of don't bittersweet things. Christine Burns 50:17 It's I love that I miss the bar kind of whatever word that is, you know the the aggression the competition the the challenge of it by I miss that. But I don't miss the the continual practices and trainings and sacrifice. I mean, I played I think there was a span of about I mean, I played longer than I only played 13 years because I only started playing hockey and my last year of school, but I I played a span of 10 years where I just went indoor outdoor hockey the whole time, and I didn't actually take to be honest, I didn't take time off. I was training and playing across those 10 years of just going indoor outdoor the full time and it was that I don't miss Yeah, that was that was the stuff I'm I'm okay to let that go. Michael Hingson 51:10 So it sounds like it was time now. Was your partner a hockey player? Christine Burns 51:14 Um, no, no, she was a musician and did a lot of singing as well. And but she wasn't really a sports person. But she's, yeah, she she enjoys workouts, and she enjoys doing things like that. But yeah, is definitely more of the musician and the singer kind of thing. Yeah, yeah. Michael Hingson 51:31 So did she play at the Games? Christine Burns 51:34 Um, no, no. Michael Hingson 51:39 Just checking. But still, that's that's cool that that Yeah. You. You you had a relationship. So was was your Was she an influence in any way of you deciding not to play hockey? So you could spend more time together? I mean, that Christine Burns 52:00 night? Yeah, totally. You just decide. Yeah, yeah, I just decided it was. It was weird. And I got, I must admit, I did get a fright because it was like the thought just was just random. Because I couldn't even think of you know exactly where I was standing. When I had that that thought it was it kind of shocked me that I was like, Oh my gosh, I never saw. I never saw that time ending. Like I never, I never thought I didn't even think about it, to be honest, of not being a hockey player. You know, which, even sharing the fear as their identity was quite strong as I just never saw myself as not doing it. Yeah. Michael Hingson 52:38 Sounds like God came along and said, Okay, other things to do now. Yeah, Christine Burns 52:43 I certainly got the right royal invisible kick in the pants. And we Whoa, that's that one God, like Shoosh Okay, cool. Now what? You survived? I did. And that's what I think is fun thing. It's like, you know, all these things happen. And I mean, you know, that yourself. It's like, we experience all these different things. And it's like, well, we're still here. We made it through so we survived that one too. So that's okay. Next, you know, it's yeah, there's always always new things to learn always new things to step into. Michael Hingson 53:13 Well, being a hockey player and active athlete and doing all of that for so many years, must have taught you things that you put into your life lessons today, what what probably is the most important or are the most important things that you learned that you took away from all of that Christine Burns 53:31 the first thing that pops in my head is never give up. And and for me, it was that thing of, you know, just, yeah, just to keep going. It's like tweaking change, keep going tweaking change, keep going, you know, it's it's, it's that there's, you can always make a difference, you can always make an impact and if you keep going with it and and tweak and change and learn on the way through your you'll get across you'll you'll get through it, there's literally there is always a way in that sense here. Michael Hingson 54:01 Well, you What do you do today? You've you've obviously moved on from hockey and you're surviving, you went to Australia? What do you do today? Christine Burns 54:10 Um, today, I am co founder and CEO of Walt Institute. So we've got our own business, which is woman Authentic Leadership Training Institute. And so we work with women in STEM, so science, technology, engineering, math and medicine. And we we do a lot of authentic leadership training with them. So our whole focus is on the person and their own leadership of themselves first. So it's not your traditional leadership. It's that kind of thing is to empower people so they can have more confidence, more self awareness, self regulation, and jump into that whole thing of being the best version of themselves every single day. So it's fun. I love it. It's yeah, it's not a job. It's, it's just what I do each day. Michael Hingson 54:56 Which which is always something that makes it a lot of fun. Isn't it? Christine Burns 55:00 Ah, it is. And it's, I mean, you know, even for now it's sight to be able to get up by 730 is not that early in the morning, but it's, you know, to get up and be on here with you at 7:30am, we had training that we took the other night with our inner circle, and that didn't finish till 7pm At night, and just, it doesn't matter. You know, it's these kinds of things as I don't care about the hours of those things, because I just love I love what I do so much. Michael Hingson 55:30 So what is your mission in life? What is it you want to accomplish? Christine Burns 55:33 By saying, I mean, the thing that I want to do is, which sounds a bit weird, but I want people to be able to experience no feel enjoy all those kind of things that that I've not specific, not the exact same things that I've experienced, but to experience that kind of level of, of fun and excitement and enjoyment in their own lives. And more. Just so that people can, can, you know, be present and enjoy life and have a good time doing it? Now. Michael Hingson 56:03 So you as a as a person who gets up in the morning, mostly, I would think get up and you're positive, you move on. I guess my question is, how do you set yourself up each day to do that and to thrive and go forward? Christine Burns 56:20 I smile is the first thing I do when I wake up is I smile every single morning. And when I first started doing it when I was going through treatment, and and it's just become an automatic thing. So as soon as I start waking up, and I realized that I'll start you know, put a big smile on my dial. Sometimes I can feel that that rush of all the happy chemicals flowed through me. Sometimes I don't, but I still smile anyway. And then I always ask myself of who I choose to be today. And that's, you know, who do I choose to be and that can be anything from curious, excited to, you know, to be focused and energized or whatever it is, whatever that stuff is that pops into my into my head and then each each day or five out of seven days, I will get up, do meditation go into a workout or exercise of some sort. And then more often than not, I'll have a green smoothie and then carry on my merry way. Yeah. Michael Hingson 57:16 When I get up in the morning, I have a cat who now homeless smashes right up next to me. And the dog is on the floor and the cat is right up against me probably trying to stay warm in part but when I say it's time to get up, she's up. And the first thing and it's so funny that I have to do is to go over and pet her while she eats breakfast. She will not eat unless I am petting her and giving her back rubs. What a crazy thing but if that doesn't start your day off in a fun way I don't know what does. Christine Burns 57:52 That was gorgeous to barely warm fuzzies and give you everything you need to kick off the day. That's brilliant. I love it. Michael Hingson 57:59 And the dog sits there and watches and Alamo the guide dog goes down well if you gotta but I always come back and talk to Christine Burns 58:07 you about Miko. You got to pet me as well. Michael Hingson 58:12 Yeah, exactly right. And he just suffers in silence until he gets petted to but stitch stitch the cat insists. And during the day when she decides she's hungry, she yells until I come in and pet her vocal about it. It's so funny. Christine Burns 58:30 Because it was a waste to have a Siamese cat when I was that with few that our first time is cat that I can remember we used to call it a minute or her name was midfield. Mandy, she had a big long family history. And she used to sit on the bench with mum. So when Mum was doing the veggies and things that care and mum would sit there and have a conversation and a cat would have all these different ranges of sheep now and all these different ways and, and mum and the cat will have this conversation. And I just love it. I think it was brilliant. It was Michael Hingson 59:00 so much fun. Tell us about your book. Christine Burns 59:03 So my book, it's called igniting resilience, overcoming the desperate despair or receiving a death sentence. And I I started writing it just in the sense of just minimize it by just in the beginning was this thing of like, I want people to kind of know that there's a different way that you could approach these kinds of things. And then it kind of turned into this whole thing of practicing what I preach. It's a yes, there's my story of going through the whole cancer journey. But what I've done is made it so that there's a lot of strategies and there's basically everything that we teach, that's what I practiced and there's a whole lot of those strategies within the book as well. And it's there's a lot of learnings and things that I took through so it's not just the which sounds really bad but while our why story of it all. It's it's a teaching memoir is what Xander vs that's it's pretty Yeah, it's pretty cool. I think it's pretty cool. Yeah. Michael Hingson 1:00:04 Did you have people who tried to bring you down naysayers who said, Oh, none of the strategies makes any sense or is any good? Christine Burns 1:00:13 Yeah, I had a lot of people like, Oh, why are you writing about that? No must know about that. I was like, oh, okay, thanks. For you know, people were like, those strategies just can't be like that all the time. That's just dumb, you know, and it was like, you can. And so I was like, the every now and again, little bits of it didn't get in when they when they kind of said, Oh, that just doesn't work. And there's just no way that's going to work for me. I was like, hang on a minute. That's the choice to choose that arco. That's why that's where they're at. Because I was practicing what I teach. And I was seeing other people who were doing different parts similar to that. And it was working for them, their their journeys, even getting through any type of adversity was different, because they were implementing the strategy. So I was like, You know what, you can take your BS, you can take your poor, what was me, you know, little comments and take them wherever you like. Michael Hingson 1:01:07 Or why don't you try it and just see how well it works for you. And then let's talk Christine Burns 1:01:12 exactly, yes, they were the odd ones of those. And some people were like, Ah, I okay. Yeah, yeah. Well, what are some of that works? I'm not so so tell me about that. But yeah, then there was many others that were like not nesters booklet. And I was like, okay, cool. So Michael Hingson 1:01:29 yeah, so many people just say, well, this won't work. This can't work. And it's like, people, people, so many people fear the whole concept of blindness. And what's amazing is how many people say they're experts on blindness, although they've never tried it. Yeah, exactly. This. Christine Burns 1:01:50 You experienced it. Let's just calm down. Yeah, yeah. Michael Hingson 1:01:
Gościem audycji jest Łukasz Lipiński, zastępca redaktora naczelnego Tygodnika "Polityka", z którym rozmawiamy o politycznym wykorzystywaniu osoby Jana Pawła II do budowania kampanii politycznej. W drugiej części mówimy o proteście środowiska dziennikarskiego po śmierci Mikołaja Filiksa.
"Dla mnie największym bólem jest to, że w tamtych czasach, i to jest fakt historyczny, osoby skrzywdzone, ich rodziny, były ignorowane" - mówił w Popołudniowej rozmowie w RMF FM prof. Błażej Kmieciak, przewodniczący państwowej komisji ds. pedofilii. Odniósł się do reportażu "Franciszkańska 3" o działaniach Karola Wojtyły, mówił również o uchwale Sejmu w obronie papieża, a także o sprawie Mikołaja Filiksa.
Gościem Mikołaja Lizuta był Marcin Sośniak - Helsińska Fundacja Praw Człowieka
My guest in this episode of the Mobile Dev Memo podcast is Mikołaj Barczentewicz, an expert on EU digital privacy law. Mikołaj is a law professor at, and the research director of, the Law and Technology Hub at the University of Surrey in the United Kingdom, and he has research affiliations with the Stanford Law School and the University of Oxford, from which he received his Ph.D. I learned of Mikołaj after reading a piece he co-wrote titled GDPR Decision Against Meta Highlights that Privacy Regulators Don't Understand ‘Necessity'. I invited Mikołaj onto the podcast to discuss the recent spate of decisions in the EU related to digital privacy, including: The Irish DPC's ruling against Meta over the company's use of the contractual basis for processing user data related to personalized advertising; The French CNIL's recent sanctions of Apple and Voodoo Games; In the episode, Mikołaj and I discuss a wide range of topics: Consent as a mechanism for collecting and processing first-party data in the EU; The difference between the necessity and legitimate interest bases under GDPR; The dynamics between the European Data Protection Board (EDPB) and the data protection agencies within the various EU states; The future of trans-Atlantic data flows.
Brzmienie Świata z lotu Drozda
Aleksandria to jedno z dziesięciu największych miast Afryki i po Kairze najludniejsza aglomeracja Egiptu. W przeszłości miasto kosmopolityczne, gdzie obok siebie żyli Arabowie, Żydzi i chrześcijanie, a dzisiaj? Co zostało ze śródziemnomorskiej potęgi starożytnego świata? Co zostało z ducha Biblioteki Aleksandryjskiej, na poły legendarnej skarbnicy wiedzy, która swoim rozmachem inspiruje ludzi do dzisiaj? (Początek rozmowy: 24'48")
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 Tonight on APEX Express it is A Time for Remembering. We are remembering what it is like to grow up in San Francisco and be connected to this land that is not ours. We are remembering the incarceration of 120,000 Japanese Americans and Japanese Latin Americans. We Are talking with artists and lawyers and policy makers. People who help us shape our vision of what it means to be American. Host Miko Lee talks with artists Celi Tamayo-Lee and Na Omi Judy Shintani and Lawyer Don Tamaki. Join us. Muni Raised Me February 24–April 9, 2023 Opening Reception, SOMArts Cultural Center Artist NaOmi Shintani's website The Art of Resilience: Tanforan Exhibit Tours, Panel Discussion & Memorial Walk through February 25, 2023 1-4PM PST San Bruno BART Station & AZ Gallery, San Bruno, CA & Online ongoing exhibit on the exterior plaza and inside the San Bruno BART Station. Day of Remembrance San Francisco, February 19, 2023, 2:00 PM – 4:00 PM PST Tickets here. StopRepeatingHistory.Org Additional information about the Cal Reparations Task Force It convened in June of 2021, and on June 1, 2022, fulfilled its first charge of publishing a sweeping, nearly 500 page report drawing a through line from the harm of 246 years of slavery, 90 years of Jim Crow and racial terror, and decades more of continuing discrimination. Here is link to the 29 page Executive Summary, https://oag.ca.gov/system/files/media/ab3121-interim-report-executive-summary-2022.pdf Show Transcripts: A Time for Remembering [00:00:35] Miko Lee: Tonight on apex express. It is a time for remembering. We are remembering what it is like to grow up in San Francisco and be connected to this land that is not ours. We are remembering the incarceration of 120,000 Japanese Americans and Japanese Latin Americans. We are talking with artists and lawyers, policymakers, people who help us shape our vision of what it means to be American. Hi, I'm your host, Miko Lee. And tonight on apex express I speak with artists Celi Tamayo-Lee and Na Omi Judy Shintani and lawyer Don Tamaki join us aboard apex express Welcome to Apex Express, Celi Tamayo-Lee . [00:01:19] Celi Tamayo-Lee: Thank you for having me, Miko. [00:01:21] Miko Lee: We're so happy to have you as an artist, as a community organizer. So my first question for you is, who are your people and what legacy do you carry with you? [00:01:32] Celi Tamayo-Lee: My people are creatives. people who like to eat a lot. My lineage comes from ELOs Norte in the Philippines, in the province of La Wag and also from Toisan in village, Sega, which is, in the Guandong province in China. My people love to dance. My people are nature lovers, ocean lovers, and those who wanna figure out what it fights to get to liberation. I carry with me legacies. Of deep hope and deep faith and legacies of adventuring. I think a lot about both my grandmothers, my Popo June and my Lola Anisha, who were just both very. Revolutionary in my mind, for their times. My grandmother from the Philippines coming here, from her small village, having I think just a high school degree and making a life for herself and her family in San Francisco. My other grandmother, June, who was a housewife in Palo Alto, who I think otherwise would have become a doctor, had higher education been m ore accessible for, women in her time. I think both of them were just really loving women , who hosted a lot of open space for their communities through their food, through gatherings and parties and also being a safe place for many of our relatives in the United. [00:03:09] Miko Lee: Thank you for that. I often think about my Popo who had all this power and imagination and what it would be like if she was living today. Do you feel like you carry an additional, , responsibility to fulfill some of their dreams since they could not during their time. [00:03:28] Celi Tamayo-Lee: Yeah. I think about that a lot. I think in the moments where I'm like, wow, I have just sat at a table all day on my computer. Is this what my ancestors dreamt for me? But I think especially as I have been exploring more of my gender identity. I think I identify as a non-binary person and I think that might be something that they couldn't quite, imagine in, in the language and the terms that they knew. But I think that like real freedom to express one's within their body and how they express themselves outwardly is definitely something I think they dreamt for me and. I also feel a responsibility to be a part of movement work and be a part of continuing to build community because that is something that I've benefited so much from them. [00:04:22] Miko Lee: Talk a little bit more about your community organizing and how you combine that with your artistry and your imagination. [00:04:28] Celi Tamayo-Lee: It's definitely been a journey for myself to identify as an artist and I think, mostly cuz there's so many messages about the ways in which art will never be a career path because of how dicey it is in terms of making money, in many ways, ironically, shout out my parents, who were both very creative people and also, people who have fought for social justice for most of their lives. my dad is a civil rights attorney and was a community organizer as a young person, but also, A musician and has always played in bands as a fun side gig. when he was my age, he was in a band called Stand that would perform all over the Bay Area. And my mom herself is also a cook and just a very creative person made all my Halloween costumes growing up and as an avid gardener. Having parents like that gave me just permission to continue to grow myself in a creative way. And I do think throughout so much of history movements have really succeeded because of their artistic aspects. Even within our Asian American history, there are so many important graphic designers and artists who made protest posters. Made movement graphics that really called into being like the spirit , of what people were fighting for. , I think about all of the songs that were sung throughout the Civil Rights movement and, I think culture just has a really powerful way of opening people's minds up to things that may feel out. reach when they're thinking in a more rational way. I just think that any movement that we need, is gonna depend on the way in which culture has been influenced through art. [00:06:25] Miko Lee: And speaking of that, you've been in the studio at Soma all day today, setting up a new exhibit called Muni Raised Me. Can you tell us about your latest project? [00:06:35] Celi Tamayo-Lee: This project called Muni Raised Me is a exhibit that will be in Soma Arts for six weeks, and it is a part of their curatorial residency programs. So myself and two of my really good friends, Sasha Vu and Mei Mei Lee, we saw the flyer on Instagram that they were calling for proposals and, , applied with this idea of a show called Muni Raised Me. really what It is, is, a love letter, a gathering, a dance party of so many of our friends, our talented friends who are. Visual artists, painters, collage artists, fashion designers, photographers it's really a space that we actually wanted to create for a long time, but never really found the platform to do it. And so much of it is trying to. ,I think juxtapose like the beauty and the roots that we come from having grown up in San Francisco while also naming just the struggle it has been to persist and live here. ,most of us artists were born in the early nineties and have just come of age in this tech era within San Francisco. 2011 was when Mayor Ed Lee invited tech companies like Twitter and Google and LinkedIn in with these major tax breaks. From 2009 to 2013, every time that I visited home, There were just more and more beloved businesses that had been replaced by condos and replaced by fancy coffee shops selling $6 lattes. For myself and for many of my friends it's been a painful and lonely experience to try and maintain a life here and to, make rent, to feel creative, to still work in public service. So many of the artists in our show are organizers themselves, or are teachers and educators in public schools or in afterschool programs. And so to try and live all those different multiple dreams and identities is really a struggle in San Francisco. [00:08:53] Miko Lee: So when somebody walks into Soma Arts, what will they see with Muni raised me. [00:08:58] Celi Tamayo-Lee: Ooh. I will say one of the first things they will see is a Muni bus that we were actually gifted from SFMTA. It just so happened that they were retiring a number of their buses and we got connected to the right person. , shout out Nicole Christian who knew somebody and. We have transformed that bus into an altar. You can walk through the bus, and throughout the bus there will be altars, but there will be definitely a focal point at the very back of the bus for people to view, but also for people to interact with. I think that so much of living in the city and having grown up in the city is an experience of grief and we really wanted to make space in the show for people to bring in ancestors and bring in family members who have been lost, , or, even family members who have been pushed out of the Bay Area. we also wanna commemorate lives lost to police violence. yeah, We hope that altar can be, a realm in which the spirit is felt beyond just , the material setting of a gallery. There's also gonna be a lot of amazing collage work from Erin Kimora. We have a beautiful installation from Arena Alejo, along with, Alyssa Avilas, who is a painter and multidisciplinary artist. People will just see a lot of kind of iconography from the nineties. We have a couple of painted Muni passes and a lot of, yeah, just different gestures and shout outs to this public transportation system that I know for myself, I spent hours and hours of my life on. It was a little bit of a pocket of freedom, like with my parents not necessarily knowing where I was. It wasn't home, it wasn't school. It was a place where I got to just enjoy and see my city. [00:11:02] Miko Lee: And What would you like folks to feel after they leave the show? [00:11:06] Celi Tamayo-Lee: I hope that they leave feeling reminded that San Francisco is them and that any kind of beauty or spark or funkiness or weirdness that they feel themselves missing from San Francisco actually can come back through their own creativity, through their own hello to a neighbor through their own small act of kindness. You know, I think there are deeper relationships also made through this show. I hope that there's a feeling of oh, my people are still here. I am connected to a sense of justice and community that maybe doesn't always feel present in the everyday, but is actually there. I hope that it. Reignites some sense of connectedness to other people who call this place home. [00:11:59] Miko Lee: I wonder if you could just speak a little bit about how art helps us remember the past so that we can learn and move forward in the future. [00:12:08] Celi Tamayo-Lee: Yeah, I think art is really critical to remembering our history. It's definitely one thing to read something in a book and another thing to experience it through imagery and sound and color. it was important to us in this exhibit to in our alter space, include really important historical figures of San Francisco. So we're including people like Victoria Manalo Draves who was a Filipina American olympic swimmer, she was one of the first women swimmers to win in her divisions of diving. We also have people like Mary Ellen Pleasant, who was an African-American woman, one of the first African-American millionaires in the country, who is also dubbed as the Harriet Tubman of the West. She helped hundreds of African-American people, basically find and make lives here in San Francisco. And, She challenged the government when they told her that she couldn't ride actually on a certain part of the public transportation, and it went to the California Supreme Court and she won and that is what stopped discrimination on the trolley routes in San Francisco. Art reaches people who would not normally seek out that history. I think it just gives people a much deeper sense of their own legacies or legacies that they may not even know that they're connected to. [00:13:51] Miko Lee: Celi Tamayo-Lee, thank you so much for joining us on Apex Express. [00:13:56] Celi Tamayo-Lee: Thank you for having me. Miko. For anyone who's looking for more information, you can follow us on Instagram@MuniRaisedMe and also find us email@example.com/Muniraisedme. [00:14:10] Miko Lee: That was Sealy to Mio Lee talking about muni raised me. Now take a listen to pistol jazz by Hi no Tori. A taiko solo. [00:17:41] Miko Lee: Welcome back. You are tuned into apex express, a 94.1 KPFA and 89.3 KPF. Be in Berkeley and firstname.lastname@example.org. That was a Taiko solo. Hi no Tori by pistol jazz. Welcome artist and narrator of culture, NaOmi Judy Shintani to Apex Express. [00:18:03] NaOmi Judy Shintani: Thank you for having me. I'm excited to talk with you. [00:18:06] Miko Lee: We're excited to talk with you too, and I wanna kick it off by first asking you, who are your people and what legacy do you carry with you? [00:18:16] NaOmi Judy Shintani: Well, I do quite a bit of my artwork about, the Japanese American history and so those are some of my people, I would say. But I also want my work to be visible to all kinds of people. So I'd say everyone's my people. The legacy I carry, part of that has to do with the incarceration, that is part of the history of my family. That is something that I carry with me. I think that there is intergenerational trauma. There's lessons you learn in legacy from your family and your culture. [00:18:54] Miko Lee: So we are coming along to the Day of Remembrance, which is a day that recognizes the Japanese-American incarceration. Can you tell about your family's personal connection with the incarceration. [00:19:07] NaOmi Judy Shintani: My father's family was up in Washington State in the Puget Sound area, and they lived on a houseboat and were oyster farmers. When Pearl Harbor was bombed, they immediately came and got my grandfather, who was a leader in the community. They were a concerned or worried that he might be a spy or might have information. And so He was taken away and my grandmother and my father's and his sibling didn't really know what had happened to him. A few days later they came for my grandmother and my father and his siblings. They eventually ended up at Tule Lake incarceration camp. Then my grandfather was allowed to be with the family there. On my mother's side, she was actually in Hawaii and the family was not incarcerated per se, though there's a lot of limitations and curfews that they had to live with. Her father was also a leader in the community and he was taken away for a year. And I think At that time my mother didn't really, probably up until the time of her death did not believe that they were incarcerated in Hawaii. But of course, we've learned later that there were incarceration camps in Hawaii and that my grandfather actually was incarcerated. [00:20:36] Miko Lee: Yeah, so many of these stories are hidden. Finally the one incarceration camp in Oahu is just getting turned into a, a national park soon. So More people will know about that history. That's one of the many hidden histories about the internment camps in Hawaii. [00:20:52] NaOmi Judy Shintani: Exactly. One of my goals is to explore the incarceration history in Hawaii. I've mostly been focused on my father's family cuz there's been more information. So I'm very interested in learning more about the legacy of trauma in Hawaii. [00:21:10] Miko Lee: You're an amazing artist, have created so many important pieces, and can you talk more about how you combine your sense of family history, your activism with your artistry? [00:21:22] NaOmi Judy Shintani: I think originally I started wanting to learn more about what happened to my family and also to come to grips with it for my own self. That's when I really started exploring trying to learn more, trying to Get my father to talk more about his experience and that is what really spurred me to start making art. At one point when we went to the Tule Lake pilgrimage together, he was asked how often do you think about the incarceration? It was a general question out to the elders that were at Tule Lake and they had to raise their hand and so they said every 10 years, every five years, every. Three years and they kept going and my father still had his hand raised for every day. And at that point I thought, this is something that is deep in our family, a deep trauma that's not been talked about a whole lot, and it has affected me and many families. That's when I really decided, Spend more time exploring that and exploring also meant doing research. It meant talking to other people. It meant gathering information. I did a lot of outreach to hear other people's stories written or oral. I also did surveys for descendants of people that were incarcerated cuz I hadn't heard that much from them. All of these thoughts and stories became part of my art and I think of my art as a way of educating people as well as honoring them honoring the people that were incarcerated and as a healing. [00:23:16] Miko Lee: In the byline next to your name, it says that you are a “narrator of culture, the unspoken compels me to create.” Can you share a little bit more about what that means to you? [00:23:27] NaOmi Judy Shintani: Well, I was thinking about what is it that I'm actually doing in my work and I was working with someone to come up with some sort of naming of myself, and I finally came up with the idea that I tell other people's stories, I tell stories of culture so that's why I became a narrator of culture. The unspoken compels me to create, that's because I am very Adamant about bringing these stories out to the public. I think that is through the personal stories about what people experienced. That is how we really know the history. A lot of this kind of history, these personal stories are not in history books in high school or middle school. It's about, Individuals and families. It's not just about, 120,000 people. I mean, that's a big number, but to hear the actual stories of parents and children and grandparents I think that puts a whole different light on it. [00:24:36] Miko Lee: Can you talk a little bit about your piece that's at the San Bruno BART station. [00:24:41] NaOmi Judy Shintani: I was hired by bay Area Rapid Transit Bart to create a art exhibit or historical exhibit about the Tanforan detention center that was on the land of where the BART station and the mall is now and was originally a racetrack. I came in as a curator, so I thought about what is important for people to know about Tanforan and how am I going to express that through writing and through art and through historical photographs. I actually thought that there's a lot of discrimination and hardships that Japanese immigrants, the Issei experience before. Pearl Harbor was bombed that I think had an influence on how the Japanese people were treated during that war time. So I really started talking about the history way earlier. About coming over, not being able to become citizens, not being able to own land and yet persevering and becoming successful. So that all rolled into the incarceration. There was a lot of discrimination because, the successfulness of the Japanese even though they had so many hardships. That was just an example of what things I thought were important for people to know about the incarceration, the history of Tanforan. I also spent a lot of time Expressing and telling the history of the artists that were at Tanforan art was a very important part of the incarceration. So I talked about people that were incarcerated, artists that were incarcerated, the art school they had there, and showed some of the art that was created there. and then I also included Art of Descendants. To express, you know, what's happened? How are people expressing the incarceration in art now. [00:26:48] Miko Lee: I love that you curated this kind of trauma informed practice that has been lasted for generations. Can you talk more about the art school that was at the Tanforan concentration camp? I hadn't heard that story before. [00:27:02] NaOmi Judy Shintani: Obata, who was a professor at uc, Berkeley was incarcerated. And so When he got there, he thought we have to have something that will give people some hope or some something to do while they're in prison. He had an art school that was for children as well as for adults. to Teach and encourage people to use their creativity to survive this difficult time. They had hundreds of students and a lot of different subjects as well as drawing and painting. [00:27:36] Miko Lee: So anybody can go and see this public exhibit that opened in September, right? [00:27:42] NaOmi Judy Shintani: Yes. If you want to go see it, you can of course you can ride on Bart and get off at the San Bruno BART station is, it's right on the main street level floor. If you're going by car, if you come to the Bart parking lot or the Tanforan Shopping Center, you can let the station agent know that you're there to see the exhibit. Then you'll be able to come in without having to buy a ticket. They're also encouraging classrooms and groups to come in. So you have a large group. You can call or email Bart and they will arrange that. There's also a memorial which is outside of the BART station, and that was put together by a group of Japanese Americans, some of which had connections with the incarceration there at Tanforan. They just opened a beautiful outdoor memorial, which has a statue of two of the young mochita girls that were in incarcerated photographed by Dorthea Lang. And also they have the names of the people that were . Incarcerated engraved, and they have a horse stable structure that can give you the size and the space that you would've been in if you were incarcerated there. BART and AAWAA, which is the Asian American Women's Arts Association are putting on a curatorial tour, as well as a memorial walkthrough and a multicultural artist panel on February 25th. People that wanna get more information can come have a special experience on that day. [00:29:26] Miko Lee: You're tuned into APEX express., a 94.1 K PFA and 89.3 KPFB in Berkeley and email@example.com. Can you talk to me about your project that you're working on right now? [00:29:40] NaOmi Judy Shintani: Dream Refuge for Children imprisoned was originally introduced at the Triton Art Museum in Santa Clara. And it has since been traveling. It not only is about the Japanese incarceration, but I've also included children that were incarcerated in the United States, including native American children in boarding school situations that were removed from their communities and also the Central American refugee children which are the most recent group that has been incarcerated and a t the beginning were removed from their parents, and I just thought that was traumatic and horrible. It's reminded me so much of what our families went through in the incarceration of the Japanese Americans. [00:30:34] Miko Lee: Can you describe for listeners what this work looks like? [00:30:39] NaOmi Judy Shintani: I did life size drawings of children on mattresses are put onto cots. I also sewed talismans on each of the children. That represents a form of protection, a symbol of protection for the different children. So the Japanese Americans had little embroidery symbols as in Japan they would sew them on the back of children's kimonos to watch their back. I carried on that tradition of adding those kinds of symbols in red thread. For the native American children, I made little belt pouches of cedar and sage herbs that were given to me by a elder who knew I was working on this project. And so I sewed those into little red pouches that had the symbol of the four directions. For the Central American children I sewed purple crosses cuz they would often be carrying these crosses, with them when they came across the border. So those are all arranged in a circle. I just felt that the circle was such a healing shape and I wanted people to come into the space and see these sleeping children in this safe space and to relate to their experiences. And I had recordings of stories that were told by elders now about their experience when they were children. I had a woman that was in Native American boarding schools that told her stories and then also collected the stories. Belinda Arianga, a woman in Half Moon Bay that went to the border, and she told me the stories of those children. These voices were all recorded so that you can hear their stories in the room. [00:32:33] Miko Lee: So why for you as an artist, did you want to have both something that you could look at and then also listen to what was the impact of having those dual experiences for audience? What's your intention behind that? [00:32:46] NaOmi Judy Shintani: I really wanted people to experience the incarceration with different modalities. So I felt that by them seeing the children sleeping, they had one experience also walking in a circle. That was another experience. So they, there was a movement involved. To hear the stories I think gave another level and also to hear elders telling the stories that they remembered when they were children, along with hearing children speaking in Spanish and in English. And to have different ages and different genders. Telling the stories that they experienced. I think that just gave a whole nother. Way of the history entering the viewers. [00:33:32] Miko Lee: To me, there's also something quite powerful about the fact that they're sleeping children , because there's this whole innocence and kind of beauty that comes within that sleeping space, and yet they're held in detention. So it's this very intense juxtaposition. [00:33:51] NaOmi Judy Shintani: Yes. That was something that I really thought about and wanted to express that sort of vulnerability, but yet when they're sleeping, they have this time to dream of being in a different place or being in their own space. That was one of the things I really wanted people to come away with. The other thing I didn't talk about is that the Central American children I placed on the floor and they're sleeping among the Mylar blankets as well as textiles from Central America. And that really came to me when I spoke to a woman who was from Honduras who been released from those detention centers and she said whatever you do, don't put our children on beds, because they had to sleep on the cement floor. So I really took that to heart and wanted to show them in their correct plight of being imprisoned in such horrible conditions and the circle of the children around them. From the earlier generations of incarceration, I felt they were almost like guardians for the Central American children. [00:35:06] Miko Lee: And you went down to Crystal City to be part of the pilgrimage and protest, is that right? [00:35:12] NaOmi Judy Shintani: Yes. I was invited by Satsuki. Ina I wanted to talk to her about her story and about her experience. She said why don't you come along? We are going to go to Crystal City. It was the first time they were going. We're also gonna do a protest at the detention center. You can talk to a lot of people there. You can see what's happening I did talk to some families and children at the bus station that had been released when we were giving them some food and backpacks and things like that, and that was really moving and I think that actually that experience of going on that trip that sort of cemented the dream refuge for me. [00:35:56] Miko Lee: You mentioned your dad and how he kept his hand raised the whole time that he thought about the incarceration every day. Has he had the opportunity to see your work?. [00:36:05] NaOmi Judy Shintani: Yes, he has seen my work. He was very proud of it. He would often go to my art exhibits and be photographed with my work and Attend shows and I was always very happy to have him there and I think it was emotional for him. He didn't necessarily speak a lot, but he was present and I think it meant a lot to him that I was making work about his experience. [00:36:33] Miko Lee: Since we're coming up upon the day of Remembrance, how does art impact remembering and specifically about remembering about the Japanese incarceration? [00:36:44] NaOmi Judy Shintani: Well, I think it impacts it in a lot of ways. One way is that there were not a lot of cameras allowed into camp. A lot of the art that was created in camps are the only documentation, true documentation by the prisoners of what it was. To be there and how they were feeling and how they were experiencing camp. Mine Okubo's work, who I use in the Tanforan exhibition is really important because her drawings were almost the only thing I could find that showed just the. Experience of being in a horse stable, the experience of having to go to public bathrooms where people had no privacy. I mean, Those kinds of things weren't photographed by Dorothea Lang or any of the other photographers that were sent by the W R A because they were not trying to show the traumatic side of the incarceration. The fact that these artists were able to document and express themselves, that, that is, historically important and also important as a way of people understanding the emotional impact of what was going on in the camps. There's just something about a painting or a sculpture or drawing that shows such a deeper level of history it doesn't even have to be history, just the colors or the brush strokes. These are all things that you can't read about in a history book. You can't experience it in the same way. I also feel that with the descendants creating art for example, the Sansei Granddaughters is a collective I'm part of. We've all expressed our family's experience. in different ways some people are sewing, Rako Fuji, she uses glass to create kimonos with photographs. There's just different ways, that people use whatever media they think is right to express their history. [00:38:53] Miko Lee: Na Omi Shintani thank you so much for speaking with me. We're looking forward to seeing more of your artwork and your voice in the world. [00:39:01] NaOmi Judy Shintani: I really appreciate the opportunity to talk about the art and how important it is for our history in our education of this traumatic experience. I wanted to also make sure that people come to the carrying the light for Justice Bay area Day of Remembrance. Sunday, February 19th from two to four Pacific Standard Time, it's going to be at the Christ United Presbyterian Church on Sutter Street in San Francisco. In person or online. The keynote speakers can be Don Tamaki. There's gonna be spoken word performance by Lauren Ito the MCs Ryan Yamamoto, the anchor for C B s News Bay Area. And there'll be a candle candle lighting ceremony. It's always a very moving experience. It's a time for remembering and honoring those who've been incarcerated. It's a time of community and I hope people will attend. [00:40:05] Miko Lee: Welcome Don Tamaki, amazing esteemed lawyer and activist. Welcome to Apex Express. [00:40:11] Don Tamaki: Thank you. [00:40:11] Miko Lee: So first I wanna just start with the big question. Who are your people and what legacy do you carry with? [00:40:18] Don Tamaki: I'm part of the Japanese American community, I'm most known for serving on the legal team, which reopened Korematsu versus the United States. The 1944 US Supreme Court decision, widely regarded as one of the worst decisions in US Supreme Court history, our legal team reopened it some 37 years later. Newly discovered secret, intelligence reports and Justice Department memos admitting. There was no reason to lock up Japanese Americans. They were not a dangerous population. They were not engaging in espionage or sabotage , and arguments and memos between Justice Department lawyers about their legal duty and the fact that they were about to tell lies to the US Supreme Court in order to manipulate the outcome of that decision. That decision ended up in 1944 upholding the constitutionality of uprooting some 120,000 Americans of Japanese ancestry, including my parents and their extended families into 10 concentration camps, stretching from California to Arkansas. [00:41:26] Miko Lee: Wow. You've just given us a whole history lesson. Thank you so much. And you have been a part of so many critical moments in the Asian American Pacific Islander movement. You described part of that in the overturning of the Fred Korematsu 40 year conviction, but you're also the founder of Asian Law Alliance. And were the ED at Asian Law Caucus and you're the co-founder of Stop Repeating History all of your work is just so powerful and important. I wonder with the rise and attention on anti-Asian hate right now, where do you see the Asian-American movement going forward? [00:42:02] Don Tamaki: Well, I'm glad that all light is being shined on they hate incidents against Asian Americans. It has been happening for some time, but it's never really has gotten national attention let alone regional and local attention as it is now. So I think it's on balance. It's a good thing. On the other hand, I think we as Asian Americans knowing our history need to understand where the hate comes from in the first place. And by that I mean what is the cultural strain, the historical tradition, the norm of policies and laws that led to prejudice being so systemic in the first place. If you connect the dots, I think it does go back to 1619 in the very beginnings of enslavement in America, which laid the foundations propped up the institution of slavery for 246 years. 90 years of Jim Crow to follow, and decades more of exclusion and discrimination targeted first at black people. But while those policies and laws put a target on the backs of African-Americans it also Ended up targeting on occasion Asian Americans, Latinos other disfavored groups. And so this bias has really recycled over and over through our entire history. And from time to time resurfaces to impact us as Asian Americans. The Trump administration's a pretty good example where even though we have our model minority status Asian Americans became the spreaders of the Chinese virus. Mexicans were labeled as drug dealers and rapists. White supremacists declared that Jews and immigrants were poised to replace them. And the continuation of black people being killed at the hands of law enforcement, and it barely would ev evoke any reaction at all because it was deemed so normal until the May 25th, 2020 murder of George Floyd, which was captured on videotape. So this kind of thing where, you know, of course the Japanese Americans ended up in concentration camps. The Chinese Exclusion Act of 1882 was the first ban against a country. But it gets recycled in different forms, whether it's the 2017 Muslim ban that Trump put out or other things that ultimately in fact, the thinking I think, of the entire country including our own communities. While I'm very hardened that we're focusing on the hate incidents against Asian Americans, I think that's been a ignored area. I'm concerned about each group sticking up for its own tribe only and not connecting the dots I did to identify where this pathology comes from in the first. So speaking of cross solidarity work, I know your work led to the groundwork reparations for incarcerated Japanese Americans during World War ii, and last year you were appointed by Governor Newsom to a reparations task force for African Americans. Can you tell where that reparations committee is at right now? Following the murder of George Floyd triggering the largest protests in American. By September of the same year, 2020 the legislature had passed secretary Shirley will Webber's bill creating a task force to study reparations proposals for African Americans and make recommendations to the legislature. I'm one of nine members appointed by the governor in the legislature, and we have three charges. One is to document the harm of the legacy of slavery, covering two and a half centuries and another century of Jim Crow in decades, more of exclusion and discrimination, and connect those dots. To the current outcomes today, and we've done that in a very sweeping, scholarly, comprehensive report. It's been called the Interim report because it's not the final ones coming out this June. The second goal is to study reparations proposals and make recommendations to the legislature. The final report, which is due 2023 in just a few months. The third requirement is to educate the public about what's happened. Because as this is really, the subject is so buried and erased. The product of a willful amnesia call it. The fact that we're. The American public, the New York Times, Washington Post is just now publishing articles on Tulsa and Greenwood in which 300 African Americans were murdered in what was called a race riot, even though that happened over 100 years ago. People are just learning about that now. And what the I interim report that we issued last June reveals is that this is not an isolated incident. That the history is littered with Greenwood. Part about educating the public, creating curriculum to provide information to students and so on. That's really our charge going forward. And in June of 2023, we'll be issuing our final report. I know that both Tsuru for solidarity and the Japanese American Citizen League worked last year to get reparations for African Americans in the Chicago area utilizing marijuana tax. I'm wondering if there's other reparations models that have been happening in the US. There's discussion for the first time. The reparation idea is as old as the Civil War when 40 acres in a mule was promised with a period of 12 years of reconstruction that happened only to have all of that rescinded. Thereafter, and again, I think because of at least it was triggered, I think by the Floyd murder local municipalities and counties, about maybe two dozen or TA have taken this up in California so far as the only state and each of those areas are coming up with different kinds of proposals. I have to say that this is largely because of the unwillingness of Congress even to study reparations, let alone do anything about it. And so local jurisdictions have taken up the lead on this. As far as the state task force on reparations is concerned, I think all of the forms are on the table. None have been decided on yet or voted on. That will come in the run up to June of 2023. [00:48:54] Miko Lee: I believe you're the only non-African-American member of that commission. Is that right? [00:48:58] Don Tamaki: That is right. [00:49:00] Miko Lee: So how can the Japanese-American reparations and apology be utilized as a model for reparations for African-American and indigenous folks? [00:49:09] Don Tamaki: They're big differences, of course between the Japanese American experience and. The experience of black people in America. First off, as the listeners know, there's simply no equivalence between four to five years in the concentration camp, losing all of your property and your businesses. Some folks even lost their lives as compared to 400 years of two and a half centuries of enslavement followed by Jim Crow and. Legalized and customarily enforced segregation, the results of which we're seeing e every day in our communities. But there are some things that are useful. The Japanese American redress and reparations movement is maybe one of the very few examples where the government acknowledged a great, wrong, apologized for. and put meaningful compensation behind that to create a meaningful atonement and how we got there. Some of the, there are some lessons that are maybe of some use. I think the other thing in my role as the only non-black person on the task force is to demonstrate. We can and should, and we're obligated to be allies in this effort. And although Japanese Americans don't have the history of black Americans in America we do know something about racial profiling. We know something about being removed and vilified and organizing to get back our dignity and some measure of atonement and. that lesson is really an American story of the meaning of the Constitution and what it means to be an American. When democracy and institutions are being challenged and in our case failed. I think with respect to other groups, whether they're. Native people or Latinos or L G B T Q, populations, disabled and so on. We all ought to be taking a look at reparations because it shines a light on so much of where the sense of separation and inequality comes from in the first place. [00:51:17] Miko Lee: Can you talk to us about the Day of Remembrance? I know you're gonna be the keynote speaker this year. Can you talk about the importance of the day? of remembrance? [00:51:25] Don Tamaki: Well, It's certainly important from a personal standpoint for our own community. It's time to reflect on our families who were taken away and incarcerated for no good reason but for the country, it's important to memorialize, and we do this annually about the perils to democracy. When racism shouts louder than the Constitution and our community endured a time where, The facts didn't matter. The law didn't matter and the constitution didn't matter. And why is that important? Because we're seeing that play out in real time today. The January 6th Capitol insurrection the Capitol was defied, five people died. 25,000 troops were deployed to protect the peaceful transfer of power. and millions today believe the election was stolen despite the utter lack of any evidence of fraud that would've made any difference in the outcome. This kind of collapse is something our own community experienced. literally the three branches of government failed. The presidency, legislative branch, Congress, and in our case, the courts they all bowed to the will of a racist notion knowing, and the government knew it at the time that that was. A, a completely false premise and yet no one had the courage to stand up, at least within the Department of Justice and within the courts. It was so normal that it was allowed to happen. We're seeing this playbook play out. It's not peculiar to the United States. This demagoguery is something that's happening worldwide and the elements are the same, which is, number one, appeal to prejudice. Number two, engage in fear mount mongering and scapegoating and three traffic in conspiracy theories and fake news. There's certainly a parallel there And that also led to the formation of stop repeating history. To be an alert, to be a point of reflection that we've seen this before and unless we become active and intervene, it's gonna happen over and over again. So that's certainly. A big reason why the day of remember it is such an important annual event. [00:53:41] Miko Lee: How does it feel to be the keynote speaker this year? [00:53:44] Don Tamaki: Well, I've gotten more than my share of recognition. There are many other people that have done really important work, but it gives me a platform at least to talk about the importance of reparations for African Americans and why it is not just a black issue, but an issue of long overdue justice. And that by shining a light on the origins of systems of exclusion, discrimination, that it helps all of us. It gives me an opportunity to connect some of the dots between our community struggle and that which been a constant for black people in America. [00:54:20] Miko Lee: We're gonna put a link to stop repeating history onto the show notes so people can take a deeper dive into some of your work. Don, you make change happen through policy and laws, and we're also talking with artists in this episode. How do you think art can help shape and change social issues? [00:54:38] Don Tamaki: As a lawyer, I used to think that laws and cases and legal action are the most important thing. And don't get me wrong it's, important. We reopened this ancient case of Korematsu versus United States, and we made a legal point as well as a public policy point. But I think the driving force For both good and bad in America, which is an amalgamation of both is culture and what I mean to say that is to say, if the culture says you will be locked up, the laws don't matter. The constitution doesn't matter. Nothing matters. You will be locked up because the culture is saying that is the norm. and I think we're again seeing this over and over again. And so how is culture created these belief systems? A lot of it has to do with artists authors those who create. that reflect and help shape the public's values. I think Artists and writers and others play a huge role in determining or helping to determine the values of a society. In the reparations movement, as well as to happen in the Japanese American redressing, reparations. the Art was really important when we went to announce our reopening of the filing of the petition in behalf of Fred Korematsu, Gordon Hirabayshi and Minori Yasui, I called up news desks and these are educated journalists who had no idea that this had even happened in America. When I talked about American style concentration camps, they said you're talking about Japanese prisoners of war, aren't you? And they said, no, these are the removal and incarceration of an entire American population. They had not heard about that. Since that time, there've been so many books and movies and creative works and art. After how many years later Now it's in the public consciousness. People generally on both sides of the aisle, now regard this roundup is really bad idea of real travesty and an injustice. I'm glad that we played a legal role in all that. But how did the script get flipped? That was because of education. So the impact of documentary films, of books, of magazine articles, played a huge role in moving the needle of public opinion. and I think that's been true of every movement especially in the modern era. I think the artists are crucial. [00:57:07] Miko Lee: Don Tamaki, thank you so much for speaking with us. We look forward to hearing your keynote speech at the San Francisco Day of Remembrance. [00:57:15] Don Tamaki: Thank you, Miko. [00:57:16] Miko Lee: Thank you so much for joining us. Please check out our website, kpfa.org backslash program, backslash apex express to find out more about the show tonight and to find out how you can take direct action. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world. Your voices are important. Apex express is produced by Miko Lee Jalena Keane-Lee and Paige Chung and special editing by Swati Rayasam. Thank you so much to the KPFA staff for their support have a great night. The post APEX Express – 2.16.23 – A Time for Remembering appeared first on KPFA.
Potrafimy komunikować się nie tylko w sprawach bieżącyh i podstawowych. Język służy nam do wymiany doświadczeń, poglądów, zmienia nasze postępowanie, wpływa na działania. A jak to było zanim nauczyliśmy się pisać? Jak wtedy wyglądała nasza komunikacja? Skąd wzięły się słowa i zdania? Jakie są podstawowe jednostki głosu? To niektóre tematy poruszone podczas rozmowy w bibliotece Uniwersytetu im. Mikołaja Kopernika w Toruniu z dr Martą Sibierską. Dr Marta Sibierska jest adiunktką w Katedrze Językoznawstwa Eksperymentalnego, Instytutu Językoznawstwa i zajmuje sią prehistorią języka i badaniami nad ewolucją języka. Zapraszam Borysław Kozielski Fotografia na okładce Etologic horse study, Chauvet´s cave. Autor: Thomas T. from somewhere on Earth na licencji CC-BY 2.0 (00:00) Intro (00:07) Zapowiedź (01:31) Rozmowa z dr Martą Sibierską (01:18:19) Zakończenie
After a 13-year break from recording music, Miko Marks exploded back onto the music scene in 2021 to critical acclaim with the album 'Our Country.' Since then, she's sold-out shows, made her Grand Ole Opry debut and released another album, 'Feel Like Going Home.' She tells Baylen all about her incredible journey...
A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Host Miko Lee talks about Theatre & Memory with Bay Area native artists: composer Byron Au Yong and playwright Lauren Yee. They provide behind the scenes news about their upcoming productions at ACT and Berkeley Rep. More info on our guests: Byron Au Yong, composer The Headlands, ACT Lauren Yee, playwright Cambodian Rock Band, Berkeley Rep Transcript: Theatre and Memory or Why Art Matters [00:00:00] Miko Lee: Good evening and welcome to APEX Express. I'm your host, Miko Lee, and tonight we're talking about theater and memory or why art matters. So many artists grapple with this concept of memory and how each of us has a different story to share. And tonight we get to hear from two bay area locals, a playwright, and a composer, each share a bit about their creative process and why art matters to them. I have the pleasure of speaking with composer, Byron Au Yong who had been creating music for the Headlands, which opens this weekend at act. And with playwright Lauren Yee who's musical Cambodian rock band comes back home to Berkeley rep at the end of the month. First off. Let's take a listen to one of Byron Al Yong's compositions called know your rights. This is part of the trilogy of the Activists Songbook. This multi-lingual rap, give steps to know what to do when ice officers come to your door. song That was know your rights performed by Jason Chu with lyrics by Aaron Jeffries and composed by my guest, Byron Au Yong. Welcome, Byron Au Yong to Apex Express. We're so happy to hear from you. [00:04:11] Byron Au Yong: Thanks, Miko. It's so great to be here. [00:04:13] Miko Lee: I wanna talk to you about a couple of things. First and foremost, you have the Headlands that is opening up at ACT really soon. Tell me about who your people are and where you come from. [00:04:27] Byron Au Yong: Sure. So my grandparents, both maternal and paternal, left China in the late thirties and they both immigrated to the Philippines. And so both my parents were born to Philippines in different areas. And so I come from a family of refugees who then settled into Philippines and my parents were not the first in their family. They were actually both the fourth and they left and immigrated to the United States when the United States opened up immigration in post 1965. So they were part of that wave. And then I was born in Pittsburgh. They, they were actually introduced here in Seattle. And I was born in Pittsburgh because my dad was in school there. And then they moved back to Seattle. So I'm from Seattle and in 2016 I moved to San Francisco. [00:05:17] Miko Lee: Thank you. So you are a composer. Have you always played music and have you always been attuned to audio? Tell me about how you got started as a composer. [00:05:28] Byron Au Yong: Sure. As a kid my parents divorced when I was age seven and I was an only child up until age 16. My mom worked. In the evenings. And my dad wasn't in the household and so I had a lot of time to myself and I would sing a lot to myself. And then my next door neighbor was a piano teacher, and so I started to play the piano at age nine, and then at age 11 I started to write stuff down. And yeah, so I've been doing music for a bit. [00:05:59] Miko Lee: So music has always been a part of your life, essentially. It's been your playmate since you were young. [00:06:04] Byron Au Yong: Yes, absolutely [00:06:05] Miko Lee: Love that. So tell us about the Headlands that's gonna be opening at ACT pretty soon. [00:06:11] Byron Au Yong: Yeah so The Headlands is a play by Christopher Chen, who you may know is playwright, who is born and raised and continues to live in San Francisco. And it's his love letter to San Francisco. It's a San Francisco noir play. It's a whodunit play. It's a play about a main character who's trying to figure out who he is after the death of his dad. Which causes him to wonder who he is and where he is from. I'm doing original music for the show, this is gonna be an American Conservatory Theater, and Pam McKinnon, who's the artistic director, will be stage directing this production as well. I actually met Chris Chen in 2013 when I had a show called Stuck Elevator that was at ACT. And I've been really fascinated with his work as a playwright for a while, and so I was thrilled when ACT invited me to join the creative team to work on music. Miko Lee: Oh, fun. Okay. I wanna talk to you about Stuck Elevator next, but first let's stick with the headlines.This is a play that's about memory and storytelling. I'm wondering if there is a story that has framed your creative process. Byron Au Yong: Yeah. Thinking about this show as a memory play, and, memory as something, we go back in our memories to try and figure stuff out, which is very much what this play is. And also to claim and to. figure out if something from our memory was recalled maybe in completely. And so the main character is, piecing together fragments of his memory to figure out who he is in the present. And considering this I actually went back to music. I composed when I was still a teenager. I actually dropped outta school and was working a lot. I think I realized early on that I was indeed, I wanted to dedicate myself to being an artist and was very concerned about how I would make a living as an artist in the United States. And so I thought I'll figure out how to make money away from the music. And so I had a lot of jobs and I was trying to write music, but, I was in a sad place, and so I never finished anything. I have a bunch of fragments from this time. But on Memorial Day I woke up and, it was sunny in Seattle and so I said, I'm gonna finish a piece of music today. And that became part of a project in mine where every Memorial Day I finish a piece of music and it's a solo piano piece that I finish. And so, going back in my personal history, I found one of these Memorial Day pieces and thought, oh, this actually works. Because it's a bit awkward and it doesn't resolve, and I remember who I was back then, but it's also me piecing together things and so I used that as the foundation for the music, for The Headlands, which is a different thing. If you didn't know that was my source material, that's in some ways irrelevant. But that's my personal connection in thinking about music for this. And of course I've also done a lot of research on film noir. A lot of noir films were set in San Francisco. And and the music is awesome, amazing of this genre. And, it's mysterious it is a certain urban Americana music. And so I include those elements as well. [00:09:36] Miko Lee: Thank you. That's so interesting that you have a Memorial Day ritual to create a piece of music. I'm wondering if, aside from the Headlands, have you used the Memorial Day Music in other pieces you've created? [00:09:48] Byron Au Yong: No this is the first time. [00:09:51] Miko Lee: Wow. Yeah. That's great. [00:09:53] Byron Au Yong: I think Miko is because, it's a private thing for me. I think the other thing too is as you mentioned, music was my friend growing up. The piano was. Definitely one of my best friends. And so solo piano pieces for me are, it's where you can have an audience of one. And one of the things that helped me, when I was not in school was. Playing through a lot of different other solo piano pieces. And so part of these Memorial Day pieces too are that they're meant to be simple enough that they could be sight read. And so if, if there's a musician who you know, is in a similar state of, oh, I'm not able to really do anything, but I want to be with music. I can sight read through, these different Memorial Day pieces. [00:10:38] Miko Lee: And do you have them set in a specific part of your house or where, how, where do you keep your Memorial Day projects and when do you open them up to look at them? [00:10:48] Byron Au Yong: Oh yeah. They're handwritten in a folder. None of the things so special. [00:10:54] Miko Lee: What was it that inspired you to go back and look at them for the headlands? [00:10:58] Byron Au Yong: Oh, you know what it is there are, be, because I know you, you also create stuff too in your memory of your catalog.I'm wondering if you have. If you have works that, that you remember that you made and then tho those works may remind you of a certain mood you were in or a certain room or and so I think they're musical things from certain or, things I was experimenting with for these Memorial Day. Said, I'm like, oh, I remember this. Let me go back to the folder where I collect this stuff every year and look through it. And I think that parallels actually the headlands and what the main character is doing because he recalls, and what's so cool about the production is we go into the same scene, but there's like a clue that's been revealed. And so we as an audience get to revisit the scene again. And there's a different interpretation of what was happening in the scene. And so what might have been like a scene between Henry's parents, Lena and George, which he thought, oh, this is how it was when I was a kid, when I was 10 years old. Thinking about it, remembering it, but now with this new information, this is how I'm gonna interpret the scene. And so I think similarly with, music from my past, these Memorial Day pieces, I'm like, oh, this is what I was interested in working on. But now as a older composer, I'm like, ah, and I can do this with this material. [00:12:26] Miko Lee: I love that. And I also really appreciate that this play about memory you pulled from your Memorial Day pieces, that it goes with this whole flow of just re-envisioning things with your own frame and based on where you're at in any given time. [00:12:42] Byron Au Yong: Totally. [00:12:43] Miko Lee: I know that the show was created 2020, is that right? Yes. Is that when, first? Yeah, Byron Au Yong: I think it's right before the pandemic. Miko Lee: Yeah. And you've had several different directors, and now in a way you both are coming home to San Francisco and artistic director, Pam McKinnon is directing it. I wonder if you have thoughts about some of the difference approaches that these directors have brought to the process. [00:13:06] Byron Au Yong: Oh, yeah. And, miko, this is the first time I'm working on the headlands. And so when it was at Lincoln Center, there was a different creative team. [00:13:12] Miko Lee: Oh, so the music, you're just creating the music for this version of the show. [00:13:16] Byron Au Yong: Yes, correct. Wow. And it is a new production because that Lincoln Center was in a stage called LCT 3, which is a smaller venue. Whereas this is gonna be in a Toni Rembe theater, which is, on Geary. It's a 1100 seat theater. And the set is quite fabulous and large . And what's also great is, aside from Johnny, all the cast is local. And like it will have the feel of a San Francisco production because many of us live here, have lived here and know these places that are referenced in the show. [00:13:51] Miko Lee: Thanks for that clarification. So that's really different to go from a small house at Lincoln Center to the big house at a c t Yes. With local folks with, your local music. That brings a very different approach to it. I'm excited to see it. That sounds really interesting. And now I wanna go back to talk about Stuck Elevator, which I was so delighted to learn about. Which was your first piece That was at ACT what, back in 2013? So tell our audience first about where Stuck Elevator came from and then tell what it's about. [00:14:23] Byron Au Yong: Sure. So stuck elevator. So I was living in New York in 2005 and there were some there were some images of like photos in the newspaper, initially it was local news because it was a Chinese delivery man who was missing. And most of the delivery people at the time, they carry cash, they won't go to the police. And there, there had been a string of muggings and then one was actually beaten to death. And so it was local news that this guy was missing. And then a few days later, and in New York Times, there was a big article because he was found in an elevator in the Bronx and he had been trapped in his elevator which had become stuck. And he was trapped for 81 hours, which that's like over three days. And so it made international news. And then when I read the article and learned more about him, there were many parallels like where he was from in China, which is Fujan Province, which is where my grandparents left that he was paying a debt to human smugglers to be in the United States. And different things that I thought, wow, if my grandparents hadn't left I wonder if, I would be the one who was, paying to be smuggled here rather than paying for grad school. And so I became quite fascinated with them. And then also, realized at the time, in 2005, this is like YouTube was just starting, and so all like the Asian American YouTube stars, they weren't as prominent in the news. And, BTS wasn't around then. So for me to see an Asian male. In the US media there was always this feeling of oh why is this Asian male in the news? And then realized, oh, it's actually part of a larger story about being trapped in America about family obligation, about labor, about fear of, in his specific case because he's an undocumented immigrant, fear of deportation. So there were many issues that, that I thought were broader than the specific story. And so I thought, this would be a great opera slash musical. So that's what it became at [00:16:23] Miko Lee: you, you basically read a story and said, whoa, what is this? I feel this is so wild. And then created it into an opera. Yes. Also, it just resonated with me so much as a person who has been trapped in elevators, in broken elevators six different times, . Oh my goodness. Yes. I'm like, wow. And his story, that many hours, that has to be like a record. Byron Au Yong: Right? Nobody else has been trapped that long. Yeah. It's a record. Miko Lee: So you created this piece, it premiered at ACT? Yes. Did you ever connect with the guy that was stuck in the elevator? [00:16:59] Byron Au Yong: No. So the New York Times did something which is actually not cool. They they revealed his immigration status and that at the time I'm not sure if it's still the case,but at the time, you're not allowed to reveal people's immigration status. Especially, in such a public way. And so what was cool was that the AALEDF, which is the Asian American Legal Education and Defense Fund, they the volunteer attorneys there step forward to represent Ming Kuang Chen and his case and ensure that he had legal representation so he would not be deported. The thing is, he was suffering from PTSD and there was also another case at the time it was a different un undocumented immigrant case that AALEDF was representing that had a bit more visibility and so he actually didn't want to be so much into public eye, and so he went back into hiding. And so while I didn't meet him specifically, I met his translator. I met other people at AALEDF met with other people who were related to the stories that he was a part of. So for example, used to be an organization, which I think they've changed their name, but they were the Fujanese Restaurant Workers Association. Most of the undocumented immigrants who worked in restaurants at the time are from Fujan Province. Also, Asian Pacific American Studies at New York University. Is a mix o f people who were working in restaurants as well as people, scholars who were studying this issue. [00:18:46] Miko Lee: Can you describe a little bit about Stuck Elevator for folks that haven't seen it? Sure. How did you conceive of this piece, that song? [00:18:53] Byron Au Yong: Yeah so it's a thru sung piece about a guy who's trapped in America. He's a Chinese food delivery man, and he's, delivering food in the Bronx. And what I think is You know what I didn't realize when I started it. And then I realized working on it was the thing about being stuck in the elevator is, especially for so long, is that you and I don't know if this is your case, Miko it's so fascinating to hear you've been trapped six different times. There's the initial shock and initial oh my gosh, I have to get out. And then there's this. Maybe not resignation but there's this, okay. Okay. I'm gonna be here so now what? Now what I'm going to do and the time actually, especially for someone who works so much delivering food and sending money back home to his wife and son in China and his family is that he actually is not working, right? And so he has time to consider what his life has been like in New York for the past, the two years he's been there. And to consider the choices he's made as well as to remember his family who are back in China. And part of this too is you're not awake the entire time. Sometimes you go to sleep, and so in his sleep he dreams. He has hallucinations. He has nightmares. And this is where the music theater opera really starts to confront and navigate through the various issues of being trapped in America. [00:20:22] Miko Lee: Any chance this will come into production, somewhere? [00:20:26] Byron Au Yong: Yeah, hopefully, we were just at Nashville Opera last week, two weeks ago. [00:20:30] Miko Lee: Oh, fun. [00:20:31] Byron Au Yong: so Nashville Opera. So the lead Julius Ahn who was in ACT's production is an opera singer. And and he had told the artistic director of Nashville Opera about this project years ago. And John Hoomes, who's the artistic director there had remembered it. Last year John Hoomes reached out to me and said, you know, I think it's the time for to be an operatic premiere of Stuck Elevator. And so we had an amazing run there. [00:20:58] Miko Lee: Great. Wow. I look forward to seeing that too somewhere soon. Yes. I also wanted to chat with you about this last week, a lot of things have been happening in our A P I community with these mass shootings that have been just so painful. Yes. And I know that you worked on a piece that was called The Activist Songbook. Are you, can you talk a little bit about that process and the Know Your Rights project? [00:21:23] Byron Au Yong: Yeah, absolutely. And I'm gonna back up because so Activist Song Book is actually the third in a trilogy of which Stuck Elevator is the first, and related to the recent tragedies that have happened in Half Moon Bay and also in Monterey Park. The second in the trilogy is it's called the Ones. It was originally called Trigger, and it also has the name Belonging. And I can go through why it has so many different names, but the first in the trilogy was Stuck Elevator, and it was prompted by me again, seeing an Asian male in the US media. So the second actually all three are from seeing Asian males in the US media. And the second one was an incident that happened in 2007 where a creative writing major shot 49 people killing 32, and then himself at Virginia Tech. And and when this happened I realized, oh shoot Stuck elevator's part of a trilogy. I have to figure out how to do this show called Trigger or what was called Trigger. And then realized of the different layers in a trilogy. Yes. There's this initial thing about Asian men in the US media, but then there's this other thing about ways out of oppression. And so with Stuck Elevator, the way out of oppression is through the main character's imagination, right? His dreams, his what ifs, right? The possibilities and the different choices he can make with the second one, what me and the creative team realized is that, the way out of oppression is that the creative writing major who you may remember was a Korean American he was so isolated at Virginia Tech and the tragedy of him being able to purchase firearms and then kill so many people, including himself in working on it, I was like, I need to understand, but it's not this story I necessarily want to put on stage. And so what it became is it became a story, and this is also the national conversation changed around mass violence in America. The conversation became less about the perpetrator and more about the victims. And so it became a choral work for community performers. So rather than a music theater opera, like Stuck Elevator, it's a music theater forum with local singers. And this was actually performed at Virginia Tech during the 10 year memorial of the tragedy. And this one I did eight site visits to Virginia Tech and met with people including the chief of police of Blacksburg. First responder to director of threat assessment to family members whose children were lost. A child of, teachers were also killed that day to counselors who were there to Nikki Giovanni, who was one of the faculty members. So yeah so many people. But this one, the second one, the way out of oppression is from isolation into community, into belonging. And Virginia Tech Administration said we could not call the work trigger. And so the work there was called (Be)longing with the be in parentheses. And now we've done a new revision called The Ones partially influenced by the writer, one of his teachers was June Jordan who was at UC Berkeley. And she has a phrase, we are the ones we've been waiting for. And so the ones which is a 2019 revision, the show, what it does is Act three youth takeover, right? It's about coming of age and an age of guns, and the youth have become activists because they have no choice because they are being shot in places of learning, and so Parkland in Chicago and other places have been influential in this work. And then the third in the trilogy is Activist Songbook. And for this one we went back to an earlier asian male who was in the US media, and that was Vincent Chin who you may know was murdered 40 years ago. And so activist song book is to counteract hate and energize movements. And it's a collection of different songs that is even further away from musical theater opera production in that the rally component of the songs can be taught within 10 minutes to a group of people outdoors to be used right away. And that one, the way out of repression is through organizing. [00:25:49] Miko Lee: Well, Byron Au Young, thank you so much for sharing with us about all the different projects you've been working on. We'll put a link in the show notes to the headlands that folks can see at a c t. Tell our audience how else they can find out more about you and your life as a composer and more about your work. [00:26:05] Byron Au Yong: Sure. I have a website. It's my name.com or b y r o n a u y o n g.com. [00:26:12] Miko Lee: Thank you so much for spending so much time with me. [00:26:14] Byron Au Yong: Of course. [00:26:15] Miko Lee: You are tuned into apex express on 94.1, KPFA an 89.3 K P F B in Berkeley and firstname.lastname@example.org. We're going to hear one more piece by composer, Byron Al young called This is the Beginning, which was prompted by Lilly and Vincent chin and inspired by Helen Zia and other organizers. song That was, This is the Beginning by Byron Au Yong and Aaron Jeffrey's. Featuring Christine Toi Johnson on voice and Tobias Wong on voice and guitar. This is a beginning is prompted by organizing in response to the racially motivated murder of Vincent Chin in Detroit. This hate crime was a turning point for Asian American solidarity in the fight for federal civil rights. Lily chin Vincent's mom refused to let her son's death be invisible. Next up, I have the chance to speak with playwright Lauren Yee who's musical Cambodian rock band. Returns to Berkeley rep where it first got its workshop and it will be there from February 25th through April 2nd. And here's a teaser from Cambodian rock band by Lauren Yee. Take a listen to seek CLO. song Miko Lee: Welcome Lauren Yee to Apex express. [00:34:35] Lauren Yee: Thank you so much, Miko. [00:34:37] Miko Lee: We're so happy to have you a local Bay Area person. Award-winning playwright. Coming back to town at Berkeley Rep with your show, Cambodian Rock Band. Yay. Tell us about the show. [00:34:51] Lauren Yee: Yes so Cambodian Rock Band. Is actually a piece that has some of its like earliest development roots in the Bay Area and also like specifically at Berkeley Rep. Getting to bring the show to Berkeley rep really feels like some sort of poetic justice. In addition to the fact, that it's like my old stomping grounds. . Essentially Cambodian rock Band started in 2015, or at least the writing of it. It actually started, if I'm being honest much earlier than that. I think it was about 2010 2011. I was down in San Diego in grad school and one of my friends was just like dying to go see this band play at a music festival. She was like, I saw this band play. They're amazing. You should totally come. And I was like, sure. And I don't know if you've ever had this experience, but it's like, going somewhere, hearing a band, and even before you know anything about them or their story, you just fall in love. You fall like head over heels in love and you say, oh my God who are these people? And I wanna know everything about them. And that band was Dengue Fever. Which is amazing. You fell in love with the band first. Yep. Before the play. Yes. And it was the band Dengue Fever which is an LA band. And their front woman Choni Mall is Cambodian American and she leads this sound that I think started in covers of Cambodian oldies from that golden age of rock for them, and has over time morphed into Dengue Fever's own original sound. Like we're nowadays, they're coming out with an album soon, their own original songs. But I fell in love with Dengue Fever and I was like, oh, okay, who are these people inspired by? And I just went down that rabbit hole of learning about this whole musical history that I never knew about. My own background is Chinese American. I'm not Cambodian American. And so a lot of kids who grew up in the public school system, I did not get basically any education about Cambodian history and America's role in seeding the elements that led to the Khmer Rouge's takeover the country, and the ensuing genocide. [00:37:12] Miko Lee: So you first fell in love with the band and then you went down an artist rabbit hole. We love those artist rabbit holes. Yes. And then what was your inspiration for the play itself? The musical? [00:37:22] Lauren Yee: Yeah so I fell in love with the music and I was like, there is something here because you had all these musicians in Cambodia who like, when 1975 hit and the communists took over the country there was just a time when like the country was a hostile place for artists where artists were specifically targeted among other groups. And so much of Cambodia's musicians and its musical history, was snuffed out, and I was like, there is a story here, that I find deeply compelling. And for a long time I didn't know how to tell that story because there's just so much in it. And then came 2015 where two things happened. One was that I was commissioned by a theater in Orange County called South Coast Rep, and they invited me to come down to their theater and just do research in the community for two weeks on anything you want. So I was like, I wanna look at malls, I wanna look at the video game culture down there, all kinds of things. And one of the things that I was interested in and just bubbled to the surface was the Cambodian American community, which is not in Orange County proper, but in, situated largely in Long Beach, right next door. And it just so happened that while I was there, There were just a lot of Cambodian American music related events that were going on. So the second annual Cambodian Music Festival, the Cambodia Town Fundraiser, Dengue Fever, was playing a gig in Long Beach. Like all these things were happening, that intersected me, with the Kamai or Cambodian community in Long Beach. And the other thing that happened coming out of that trip is that I started beginning to write the seeds of the play. And I did a very early workshop of it up at Seattle Rap. And I'm the sort of playwright. probably like writes and brings in collaborators like actors and a director sooner than a lot of other people. Most people probably wait until they have a first draft that they're comfortable with, whereas I'm like, I have 20 pages and I think if I go up and get some collaborators, I think I can generate the rest of it. So I went up to Seattle with kind of my, 20 or 30 pages and we brought in some actors. And that workshop had an actor named Joe No in it, and I knew Joe from previous work I'd done in Seattle. But during our first rehearsal when we were just like chatting he said to me like, this is my story. And I was like, oh, it's a story that calls out to me too. Thank you. And he was like no. You don't understand. Like, So my parents were born in Battambang Cambodia. They were survivors of the Khmer Rouge. I feel deeply connected to this material. And that conversation sparked. a very long relationship, between me and Joe and this play. That I, I think of him as like the soul, of this play. He became just like an integral part. And in the South coast rep production and in subsequent productions he's kind of been like our lead. He is Chum, and it's a role that I think is like perfectly suited for who he is as a human being and what his like essence is. And also he plays electric guitar which I think influenced things a lot because initially it was a play about music, right? It wasn't a musical, it was just people like talking about a music scene that they loved. And as I went along and found like the perfect people for these roles it was like, Joe plays electric guitar. It would be crazy not to have him try to play a little electric guitar in the show. And that kind of began that, the evolution of this play into a piece where music is not only talked about, but is an integral part of the show. You know that it's become a show that has a live band. The actors play the instruments. They play about a dozen songs. And it's a mix of Dengue, half Dengue Fever songs, half mostly Cambodian oldies. It's kind of been an incredible journey and I could not have imagined what that journey would be, it's hard to replicate. [00:41:53] Miko Lee: I love that. So has Joe been in every production you've done of the show so far? [00:41:57] Lauren Yee: So he hasn't been able to be in everyone. There were two productions happening at the same time, and so he could only be in one place at one time. But I bet you he would've tried to be in two places at once. But he's basically been in almost every production. And the production that he's in currently running at the Alley Theater in Houston is is like the production, the original production directed by Chay Yew. [00:42:24] Miko Lee: Wow. And was it difficult to cast all actors that were also musicians? [00:42:30] Lauren Yee: In some ways there there's I think if you were starting from scratch and you like open your window and you're like, where could I find some actors? I think it would be tough. But I just kept running into kind of like crazy happenstance where I would find a person and I wasn't even thinking about them musically. And they'd be like, yeah, like I've played bass, for 15 years. and I could kind of do drums, right? That what was remarkable is that there were all these Asian American actors who were like known as actors. But then once you like, dig down into their biographies, you're like, Hey, I see like you've actually played drums for X number of years, or, Hey, I see that you play like guitar and bass. Miko Lee: Tell me more about that. Lauren Yee: So it's almost like finding all these stealth musicians and like helping them dust the instruments off and being like, Hey, come back here. Fun. And so it's just been, it's just been like a joy. [00:43:27] Miko Lee: Oh, that's so great. I know the play is about music and also about memory, and I'm wondering if there's a story that has framed your creative process that stands out to you. [00:43:39] Lauren Yee: I don't know if it's one specific memory, but I find that just a lot of my stories I think they deal with family. I think they deal with parents and their grown children trying to reconnect with each other, trying to overcome family secrets and generational struggles. I would say I have a great relationship with my father. But I think, in every parent and child relationship, one thing that I'm fascinated by are these attempts to get to know someone, like especially your own parent, even when you know them well, and especially when you know them well. That kind of is able to penetrate that barrier that sometimes you hit in generations, right? That there's a wall that your parents put up. Or that there's this impossibility of knowing who your parents were before you had them because they had a whole life. And you only know this like tiny bit of it. And I think I'm just like fascinated by that. I'm fascinated by the impact of time. I'm fascinated by extraordinary circumstances and the ordinary people who lived through those times. And I think for a large part, even though Cambodian rock band features a family whose lived experience is different from my own. I think there's a lot of my own relationship with my father that I put into that relationship. This desire to know your parent better, this desire to know them even as they're trying to protect you. So yeah. [00:45:06] Miko Lee: What do your parents think about your work? [00:45:10] Lauren Yee: I think my parents are incredibly supportive, but like different in the way that one might think because my parents aren't arts people they of course like enjoy a story or enjoy a show, but they're not people who are like, I have a subscription to this theater, or I'm gonna go to this museum opening. and so their intersection with the arts, I feel like has been out of a sense of like love for me. Their ways of supporting me early on when like I was interested in theater and trying to figure out a way to go about it, like in high school when I was trying to like, put on a show with my friends and they were like in the back folding the programs or like building, the door to the set. And hauling away, all the furniture, so we could bring it to the theater. So like my parents have been supportive, but in a very, like nuts and bolts kind of way. Miko Lee: That's so sweet and that's so important. When I was doing the theater, my mom would come to every single show. Lauren Yee: Just Oh, bless that is, bless her. [00:46:14] Miko Lee: Ridiculous commitment. Yeah. I don't that for my kids, like every show. I wanna back up a little bit cuz we're talking about family. Can you tell me who are your people and where do you come from? [00:46:27] Lauren Yee: Ooh. That's such a great question. I think there are like many ways of answering that. When I think of home, I think of San Francisco, I live in New York now. But my whole youth, I grew up in San Francisco. My parents were both born there. My grandmother was born and raised there, one of my grandfathers was, born more like up the Delta and the other side of my family, my grandparents came from Toisan China. So on one hand, my family's from like that Pearl River Delta part of China. And at various times, like made a break for the United States. I think starting in the 1870s and spanning into the early 20th century you know, so we've been here for a while. And another way of thinking about it is we're all very, I think, suffused in our family's history in San Francisco. It's hard for me to go to a Chinese restaurant with my family without somebody from our table knowing somebody else in the restaurant, like inevitable. And it's something that never happens to me. I don't think it's ever happened to me when living in New York. Yeah. And I think And that's fun. That's fun. I love that. Yeah. Yeah. And I think b eing able to be Chinese American. Growing up in San Francisco, it's different than other, Asian Americans living in other parts of the country. Like in a strange way, it allows you to like be more of whoever you wanna be, right? When you're like not the only one. That it allows you to like, potentially choose a different path and not have to worry about. I don't know, just like carrying that load. [00:48:01] Miko Lee: That is so interesting. Do you mean because there's safety, because you're around so many other Chinese Americans, Asian Americans, that you can bring forth a greater sense of your individuality? [00:48:13] Lauren Yee: Yeah, I think so, like I went to Lowell High School where, you know, two thirds of the class is Asian American. There's just such a wide range of what an Asian American student at Lowell looks like. And what we're interested in and how our weird obsessions manifest so I think I just felt more freedom in differentiating myself cuz I like theater and I like storytelling. [00:48:36] Miko Lee: That's really interesting. Thanks so much for sharing that. I'm wondering, because Cambodian rock band is partially about when the communists took over Cambodia. If, when you were growing up as a multi-generational Chinese American, did you hear very much about communism and the impact on China? [00:48:57] Lauren Yee: I did not. And possibly it was swirling around. And I was too young to really understand the impacts. But when I look back on it, a lot of my plays, Cambodian Rock Band included, have to do with the intersection of Communism and American culture. Like another play I have called The Great Leap which was at ACT in San Francisco, also dealt with American culture like basketball, intersecting in communist China in the 1970s and then the 1980s. And like, honestly, in retrospect, the effects of communism were all around me growing up in San Francisco in the nineties. That the kids that I went to school with, like in elementary school, came there in various waves, but a lot of them pushed from Asia because of the influences of communism that you had of a wave of kids who came over. In the wake of the fall of the Soviet Union, you had kids who came preempting, the Hong Kong handover back to China. You had kids, who came to San Francisco in the wake of the fall of the Vietnam War. So there were like all these, political movements the effects of war that were like shaping the people around me. And I didn't realize it until like very much later. [00:50:19] Miko Lee: Oh, that's so interesting. Thank you so much. By the way. I really loved the Great Leap. It was such an interesting thank you way of really talking about some deep issues, but through such an American sport like basketball I enjoyed that so much. So thank you so much for sharing about your San Francisco influence. I'm curious because you've been writing TV now limited series like Pachinko and also congrats on writing the musical for Wrinkle In Time. Amazing. Thank you. [00:50:49] Lauren Yee: That is a book that I loved and just shook me, I forget what grade I was in, but I was probably like, 10 or 11 or something. So I think the fact that I get to interface and get to dig into such an iconic work as Wrinkle in Time, blows my mind. [00:51:05] Miko Lee: That is going to be so exciting. I'm really looking forward to that. Yeah. Yeah. But my question was really about you working on Pachinko and these other series, how different is playwriting to screen versus TV writing? [00:51:17] Lauren Yee: Yeah. I think in a way like the work that I did on Pachinko, for instance, like I was on the writing staff, that's a role where you're like supporting the creator of the show, which in this instance is Sue Hugh, who is just an incredible mind. And she had like kind of this vision for what she wanted to do with the adaptation of Pachinko. And, you know, you, as a writer on staff you're really helping to support that. So I think your role is a little bit different when you're brought on staff for tv that you're helping to birth the thing along and contribute your part. Whereas when you're a playwright like the piece remains with you, and you just have I think a greater sense of control over what happens to it. [00:52:00] Miko Lee: What surprised you in your creative process while you were working on this play, this musical? [00:52:08] Lauren Yee: I think the thing that I realized when I was writing Cambodian Rock Band is that in order for the play to really click together is that joy has to be at the center of it. That Cambodian rock band is a piece about art and artists and family surviving really horrific events. And in order to tell that story, you need to fall in love with the music. You need to understand why these people might have risked their lives. For art, you need to understand why art matters. And I think a feature of my work is finding the light in dark places that there is a lot, in the play that is heavy. There are points where it is surprisingly and shockingly funny and that there are moments of just incredible heart in places like you probably won't be expecting. And I think that's been a big lesson of developing this piece. [00:53:14] Miko Lee: Lauren Yee thank you so much for talking with me and sharing about Cambodian Rock Band and your artistic process. I know it's gonna be running at Berkeley rep February 25th through April 2nd. Where else is it running for folks that might not live in the Bay? [00:53:30] Lauren Yee: Yeah, so if you live in the Bay Area, or if you want just see it again, which is totally fine. Lots of people see it again. This same production is going to travel to arena stage in DC over the summer in the fall it'll be at Fifth Avenue and Act Theater up in Seattle, and then at the very beginning of 2024 it will be at Center Theater Group. [00:53:54] Miko Lee: Thank you so much for chatting with me today. I really appreciate you and your work out there in the world. [00:54:00] Lauren Yee: Thank you, Miko. [00:54:02] Miko Lee: That was playwright Lauren Yee. And I'm going to play you out, hearing one song from Dengue Fever, which is in Cambodian rock band. This is Uku. song [00:56:55] Miko Lee: Thank you so much for joining us. Please check out our website, kpfa.org backslash program, backslash apex express to find out more about the show tonight and to find out how you can take direct action. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world. Your voices are important. Apex express is produced by Miko Lee Jalena Keane-Lee and Paige Chung and special editing by Swati Rayasam. Thank you so much to the KPFA staff for their support have a great night. The post APEX Express – 2.9.23 Theatre & Memory or Why Art Matters appeared first on KPFA.
Prisma grew up in Dallas Texas as a first-generation American not really knowing much about the U.S. much less the rest of the world outside Dallas. As you will hear she went to college in Indiana at Notre Dame for no more significant reason than she saw the movie Rudy and then applied. Her parents let her go off to Indiana since as Catholics they felt that Prisma could go there and grow. Grow she did. She received her Master's degree in Science and Entrepreneurship in 2010. Since graduating Prisma has worked in marketing jobs analyzing company's data looking to learn how to market to them. After two years she left her position to move into more social oriented opportunities she will tell us about. Prisma makes it quite clear that she is a social kind of person and very people-oriented. During our conversation we talk about a variety of issues including discussing Trust, what it is and how we can better learn to be open to be trustful. I hope you enjoy my time with Prisma. I believe you will find her fascinating and engaging. About the Guest: Prisma Y. Garcia joined MoneyGram International in August 2021 as part of the Social Impact team. She was the Director of Capacity Building at Social Venture Partners Dallas from July 2017 to July 2021. Prisma worked at The Concilio, a Dallas nonprofit, as a Program Director. She also previously worked as a Fundraising Consultant with Changing Our World, Inc. based in New York, NY. She received her Master of Science in Entrepreneurship as well as a Bachelor of Science degree in Science-Business with a minor in Latino Studies from the University of Notre Dame. Most recently, she completed a Certificate in Social Impact Strategy from the University of Pennsylvania. Prisma is a board member for Refugee Services of Texas, Community Does It, and other community organizations. She loves traveling and spending time outdoors with her dogs. She resides in Pleasant Grove (Dallas, TX), where she was born and raised. How to connect with Prisma: https://www.linkedin.com/in/prismagarcia/ https://www.prismagarcia.com/ https://communitydoesit.org/ About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog. Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards. https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/ accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/ Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below! Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can also subscribe in your favorite podcast app. Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts. Transcription Notes Michael Hingson 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us. Michael Hingson 01:21 Well, and a gracious Hello, wherever you happen to be today. I'm Mike Hingson. And yes, you are listening to unstoppable mindset where inclusion, diversity and the unexpected meet. I love the unexpected part, I get to meet all sorts of people. And sometimes we even get to talk about diversity and inclusion and such things. And today, we get to do some of that, among other things, we get to speak with Prisma Garcia, who is a social impact strategist at money, gram Prisma has been involved in a variety of different kinds of diversity things. She has worked with a number of social venture and nonprofit firms. She's done a variety of things that I think will be very relevant for us to talk about. And I'm really looking forward to learning more about what Prisma has to say. So we'll get to it. Prisma Welcome to unstoppable mindset. How are you? Prisma Garcia 02:19 Yes, I'm happy to be here. Michael, thank you for having me. I you know, everything you mentioned, as far as the work, you know, people ask me what social impact? What does that all mean? And you know, really, I've worked mostly with nonprofits, some social enterprises and done some consulting work. But I'll stop there, because I know you're gonna ask me some questions. And you can just let me dive in once we get there. Michael Hingson 02:48 Oh, sure, we'll do that. Well, let's start with tell us a little bit more about you growing up and what you did and how you got into sort of the field that you're in from school, and so on? What, what made all that happen? So tell us just a little bit about young Prisma. Prisma Garcia 03:06 Young Prisma? Well, you know, it's interesting, because I, you know, I don't know if this is really a career that at the time was taught in school, or people said, Hey, this is a potential career, right. And so, I think that's what I find most unique. And I, you know, I grew up in Dallas, Texas, I am, you know, first generation American first generation college student, I've, you know, essentially, you know, had the whole American dream, right, my parents came to this country, you know, probably, you know, in the 80s or so, and then, you know, I was born here in Dallas, Texas, and spent most of my life in Dallas, Texas, in a neighborhood called Pleasant Grove. And really, like, even though it has a very nice name, Pleasant Grove, really, it really shaped me because it was, you know, it's a primarily Latino community, African Americans as well. And, and really, you know, I lived in my bubble, growing up, and, you know, my parents were hard workers, and that was the, the ethic, right, we work hard to try to get to where we want to be. And so, when I think back, and you mentioned, what was young Prisma I think young Prisma was, you know, very similar to now in some ways, but, you know, just wanting to help people and give back and so, I was wanting to be a doctor, I thought maybe that was the only way and I went away to school, I went to Notre Dame, which, you know, it was very uncommon for a person like me, you know, that looked like me that had parents like me to, to go to a school with such prestige. And so, you know, coming back home, I started to realize had even been there, right? It was a culture shock. And so, you know, I think a lot of the career and the drive comes from that. It comes from, you know, having challenges along the way. And then also finding spaces that sometimes you feel like you don't belong. And so, you know, young Prisma is definitely still here. And, you know, I moved back to the community where I grew up. And so that's sort of the backstory, you know, we know, I work at MoneyGram, I do a lot of social impact work there. But a lot of what has driven me to have positions like this is because of my background, Michael Hingson 05:34 what prompted you to choose Notre Dame to go to, Prisma Garcia 05:37 you know, I mentioned I was a first generation college student, I, I didn't actually know anything about the college admissions process. And when I was in middle school, I saw the movie Rudy is not anything in particular that I was like, looking for at the time. And I said, you know, I'm gonna check that out, because I was like, one of the only exposures to college and so I just so happened to, to read about it. And I grew up Catholic, and I'm still Catholic, and it's a Catholic institution. So I, I thought, what a great place I'm gonna apply there. And so really, if I didn't know much about it, love the place now. But you know, that's how I ended up in Indiana. Michael Hingson 06:17 So is this the time to tell you that my wife got her master's degree at USC, and we intend to make sure that Notre Dame achieves its rightful second place at the football game in November? Prisma Garcia 06:30 Well, you know, Michael, we didn't we didn't kick off saying that before this interview. But, you know, I've heard a lot of good things about USC, obviously, when we're on a football field, I always cheer for Notre Dame. Michael Hingson 06:43 It's a fun rivalry. And that's what's really neat about college football, although the more and more money's getting into it, but the college rivalries that are real rivalries, where people take them seriously as rivalries, and deal with football as a fun sport in college are, are always good. So it'll be a good game. as they as they all are this year, USC is doing pretty well for a change. Prisma Garcia 07:09 So we'll see. We had a rocky start, Mike, Michael Hingson 07:11 you did. You did. And you're doing you're doing better. But the tough teams, to some degree are coming. So we'll see. We'll see. Yeah, but you. But you knew it was a Catholic college when you went there, I assume? Prisma Garcia 07:24 Yes, I did. I you know, I think that was actually when I think about it. People were like, how do you go from not knowing college to like, your parents, I had never even flown on the plane. And they let me go to Indiana. And I said, You know what, it was a counseling college. And they were like, okay, that they felt like they belonged in some way. Michael Hingson 07:45 So they, I guess, you would say are risk takers, they they let you take risks, they let you do things that might be daunting in some way? did? Did you have more of those kinds of experiences growing up? Did they let you and I don't mean it in a negative way. But take risks? Did they let you stretch the envelope? Prisma Garcia 08:06 You know, I think so in some ways, you know, obviously, they were, in some ways, you will always have that Catholic guilt. And we have the, you know, very, in some ways due to the environment, the neighborhood and some of the issues, you know, they had to be strict right. But I will say that in terms of risk taking, I have found, you know, and even growing up that, you know, some things can be scary and that and then usually that's why I want to do them. Michael Hingson 08:36 Well, I guess risk taking in risk taking in the sense. Did they allow you to be adventurous? Did they allow you to explore and I can appreciate strict, my parents, I think were strict in a lot of ways, but at the same time, and I use the term very deliberately, they were risk takers. They told the doctors when I was born, and they were told no blind child could ever grow up to amount to anything. So you should just put him in a home and they said, No, we're going to let him grow up. And we're going to teach him that he can do whatever he wants. And they left me for five years, well, not five, because we were five when we moved, but for the time, I was able to walk, walk around the streets of Chicago in our neighborhood and then ride a bike out here in California and other things. So they allowed me to explore and develop while keeping an eye on what I was doing. Needless to say, so probably risk taking is is accurate, but they allow me to explore and I'm gathering they must have allowed you to do something of that because you develop that spirit. Prisma Garcia 09:43 Yeah, yeah. I mean, I always remember there were things that they were not 100% comfortable, right? Like they knew that they would, you know, like take letting me go on certain school trips, letting me you know, We'll visit Notre Dame, when I was a senior, I mean, things that were sort of outside the box of work traditional cultural values, you know, especially being a girl. I mean, I hate to put it in that way, but I mean, it's, it's just, you know, as a Latino family, you know, that there's that protection, and we want we're very collective. And I think in some ways, it was like, well, you also have to be an individual, and you have to find these things, you know, and explore, explore things that are sort of out of our comfort zone to, to be able to do great things, Michael Hingson 10:38 but they they let you do that, had they gone to college? No, you Prisma Garcia 10:42 know, they didn't, they didn't go to college. You know, my parents probably have a, I would say, probably like, elementary school education. My, my dad, he's, he was in this country a lot longer than my mom, actually, when he was like, 15, he was already working, and you know, working a job here in in California, and then Texas. And so, you know, the idea of college was very, you know, very, almost distant, my older sister hadn't gone to college right away. And, you know, it's, yeah, so it was definitely risky. But I think that they saw the value in it, you know, to be able to do that, especially not understanding, you know, what, what I had to do, right. And, and even, I would say, even in high school, you know, my parents couldn't help me with some of my math with, with with English, you know, a lot of the things that they were trying to learn themselves, right. And so, I, you know, I think a lot of it was, was realizing like, they also took a big risk, right, coming to a different country is a huge risk, Michael Hingson 11:52 of course, but again, they had a dream, and they wanted to fulfill it. And I hope they did what, what kind of work did your parents do? Prisma Garcia 12:00 Yeah, so my, you know, what, I was blessed to have a mom that stayed home. Um, she was a homemaker. And I, I think growing up, I always felt privileged in that way, because a lot of the students, they, you know, we were working class or maybe even below that. And so, you know, some of their parents of my friend's parents had to work, you know, a couple jobs. And you know, my mom always got to stay home with me, my dad, he, he was working at a lumber company for about 20 years, and then transitioned into owning his own construction company. And so really, you know, he was, he's been so focused on on the next thing, so sometimes I'm like, Oh, my parents didn't go to college, but they have goals, even if they don't call it them. Michael Hingson 12:48 Well, and that's fair, the, the reality is not everybody goes to college, and it is always still about what you are inside, whether you go to college or not. And obviously, your your parents had dreams and goals. And they found ways to achieve them, which is as good as it can possibly be. They supported you and your siblings, which is, which is also good. Has your older sister gone to college now? Prisma Garcia 13:17 Yes. You know, what she, she was actually a great inspiration. You know, she, she says that I was an inspiration because she went to Notre Dame, and she said, Oh, my gosh, all these young people have, you know, are have goals, and they're at school. She had, she was a teen mom, essentially. You know, and a lot of people in my neighborhood were, and continue to be and, you know, she went back to school, and she became an attorney. And so now we have an attorney in the family as well. And so, you know, I think everyone sort of has their own journey, and is what I'm finding in life. And, you know, there's sometimes there's no right or wrong, but you're right, not everybody goes to college, and maybe they do, they don't, and then they go back. Michael Hingson 14:01 And we've been seeing even on the news, more and more instances of significantly older people. I think there was a recently a report about a woman she was in her 60s or 70s, he was a grandmother or even a great grandmother. And she went back and got her doctorate, I think. But people do that. So if they choose to do that, then great because they're, they're satisfying their own ambitions and, and proving something to themselves as much as anything else. We can call it an inspiration to us, but really, it's internal more than anything else, and they're inspiring themselves. And that's what really makes it makes it a good thing. When you said you wanted to be a doctor. Prisma Garcia 14:47 Yeah, you know, I didn't growing up. I didn't know very many careers. That was the other thing. I I said, Oh, you know, you go to the doctor, you know, and I felt lucky because not a lot of people in my neighborhood even did that and And, you know, I thought, well, doctors seem to be, you know, they're always helping people. Right. And so they're helping them feel better. And that was sort of a common theme. And I, I agree that sometimes it's not so much about, you know, proving things to other people, it's about being fulfilled for yourself. Michael Hingson 15:20 So when you went to Notre Dame, what did you major in? Prisma Garcia 15:24 You know, what I came in, I was I stuck to it, I was a science major, I was a science, it was a very unique major called Science business. So I actually took some of the introductory coursework in business, and then took a lot of science, so like, a lot of biology. And, you know, I think I was very, I don't know if it was determined or stubborn. And I said, you know, a lot of people change their major, and I was just like, Well, I'm gonna finish this major. And, you know, I would say, I probably would have done better another, you know, social science or something else, or even just business. But, you know, I think it was the, you know, starting something, I want to finish it. And so I did finish that I stayed at Notre Dame for a master's and, you know, really was more focused on the business side of things. And, you know, I think I got further and further away from the doctor. But I found other other dreams. Michael Hingson 16:22 Yeah, I hate to use the pun, but you were like me, you wanted to be a doctor and didn't have any patients. Right. Exactly. Yeah, exactly. Anyway, so you got your master's degree? And then what did you do? Prisma Garcia 16:37 So I got my master's degree. And, you know, it was at the height of the recession, in some ways, like, I graduated college in 2009. And then can't, you know, was like, you know, there are not any, hardly any jobs out there, right. And so, I really jumped to a master's because I said, you know, what I'm gonna do, I wasn't getting too many interviews. And that was a tough experience. Because when you're, you know, a student in high school, I was sort of the big fish. When I went to Notre Dame, you know, it's a very prestigious and rigorous academically. And so, you know, I don't think I was used to rejection rejection, but when I was in the job market, I just wasn't seeing it. And a lot of times, you'd have students who had jobs before they graduated college. And so I was like, if I'm not getting a job, or, you know, I was always sort of curious of like, well, I'm not sure why I'm a science major anymore. So I thought I'm gonna get a masters. And so I explored careers in public health, and then decided to go with more master's level business, since I had already taken some of those introductory courses. And so I stayed at Notre Dame for a very intense year, and, you know, intense cold to Michael, I know, you know, what that's like, over there. Yeah. Michael Hingson 17:59 Oh, yes. So, you, when did you get your Masters? Prisma Garcia 18:04 So I got it right after I'm technically a double dome, or as we call them, and I have a master's and it was 2010 Whenever I graduated, and it's a Masters of Science and entrepreneurship, which, at the time, I was like entrepreneurship, like, I feel like you have to go build a business, right. But I think, now I've taken a lot of what I've learned, and sort of that mindset, and applied it to other things. Well, what is mindset, Mike? Michael Hingson 18:34 Oh, there you go. What, what does entrepreneurship mean to you, Prisma Garcia 18:39 you know, for having the background and in terms of like, these courses, having read a lot of case studies and things like that, I can only tell you, now that I've had years of experience, that really, to me, it's more of this mindset of like, you know, we you know, we live in a world where there are things that exist, and I think that we are in a can be more innovative in some areas, right. And that can apply to diversity, equity, inclusion, business, and, and so many areas of work and including nonprofits. And so I think it's more of that innovation, having that critical thinking mindset to apply new solutions to problems. Michael Hingson 19:23 But you got your masters in 2010. And by that time, we had started to, I think, really come out of a lot of the recession. So what did you do? What? Prisma Garcia 19:35 So I got out and I said, you know, I thought for a little bit there, I thought that I was going to follow my friends and move to Chicago and do all of that. But you know, I think once the winter came, I was like, you know, I'm from Texas, maybe I'll go back home. So I made my way back home. I started working in a marketing company, it was marketing analytics. I think when I looking at my resume from the time I had done a lot of service learning, I had spent time on the border, I had done research, I it seemed like it was not very related to my master's. And almost then my Bachelor's was in science. So, you know, I got this job. And I can tell you, it was, it was maybe not what I want to do for the rest of my life. Right. But it was, I did have a great manager. And so that was a big plus. And so we did like, you know, all that tracking, call tracking analytics things that were I think up and coming in that age. And I mean, now everybody does it. Right. And so, I spend a little bit of time there. Michael Hingson 20:45 So when you were there, what is it basically you did? You You got information about companies? Or? Or what did you do? Exactly. Prisma Garcia 20:53 So I actually would, you know, would work on these innovative products that I actually wasn't so sure about, you know, I had actually had a program where we would identify new business through phone calls. And so, you know, a lot of these products were getting built right in house. And then, you know, I would look at a lot of data, you know, I think whenever people see a science degree, they even if it's in science, or you know, biology, or, you know, it could be it could be any of the other STEM degrees, they think, oh, this person must, must be analytical. So, I was doing a lot of a lot of the backend things. You know, I worked in a lot of databases, I mean, very different work from from what I do now. Michael Hingson 21:43 But what kind of things did you do for companies? So, what was the benefit of your work, I guess, is the best way to put it. Prisma Garcia 21:49 Yeah, the benefit of the work is was, I mean, looking at marketing analytics, for example, we had call tracking numbers placed on advertisements, you know, you see numbers on billboards, you see numbers on websites, and you don't always know like, what the return on what's the ROI, right. And so, you know, if there's a number on a billboard of any deed, number one 800, you know, eat pizza, I don't know, I'm making this up. But the, it could be anything, we could identify how many people call them number, we could identify where they were calling from, we could identify, you know, just different things that were sold from that number. And so it was very interesting. I even got to be the voice of state farm for a little bit there. When you call one 800. State Farm, I would sort of I would even do the voiceover. So I would say, you know, whenever you if you're a new business, click one if you're, you know, existing customers click do so we did it all, essentially, it was a small company, but it actually blew up, it grew. Michael Hingson 22:56 Well, back in those days, that was long before Jacot StateFarm came along. So you probably didn't know Jake, huh? No, no, no. You know, who Jake is? Prisma Garcia 23:06 Yes, yes. Michael Hingson 23:10 He's, he's evolved. It's been an interesting, interesting run for him. So you, you gave companies information so that they could see whether what they were doing was effective, and meaningful? Or how they could tweak it essentially? Prisma Garcia 23:28 Correct. Correct. And, and, you know, I think, as the company evolved, and I wasn't necessarily a big part of that anymore, but, you know, they start to do a lot of search engine optimization, a lot of things tied to digital marketing. But at the time, you know, and I can tell you even now, like, you know, we use our phones, right, and so we, we could track, you know, how many times somebody, you know, called from a cell phone versus, you know, at the time there were still a couple of health phones, but um, you know, it's just, it would tell you all this interesting information. And so I was pulling a lot of that helping collect on a lot of that and analyzing a lot of it. And, you know, a lot of that was, was helpful for the companies to see, like, where do I need to invest more of my marketing dollars? Michael Hingson 24:18 So how long did you do that? Prisma Garcia 24:20 You know, I didn't do for very long, it wasn't like I said, I had a great manager that I still keep in touch with and, you know, I was there probably for about a year and a half, two years. So it was very early on before I you know, ran into somebody else and decided to jump to that. Michael Hingson 24:39 So, what did you learn from that job? What did you take away that helped you in your career? Prisma Garcia 24:46 You know, I think back and I have mentioned mentioned the Met my manager many times, but I noticed that he was very much about the person right. And so he wanted to build a relationship with me and People ask me, Why do you stay at the call tracking so long? And I say yes, because of the people. Because because of the manager, I and I think I've carried that with me throughout my career, I especially now working in a very social oriented, you know, position, and even the nonprofit work. And so the biggest thing I learned was, you know, that while that we're always being watched Michael, but then, but then I also learned that, you know, it's about people, Michael Hingson 25:30 you know, you said something just now, that's extremely interesting. That strikes me we're always being watched. And as a as a person who happens to be blind. Intellectually, I know that I can be walking down the street. And don't even think about the fact that I'm probably always being watched. And a lot of times people may wonder, how does that guy do that? Or does that guy need help or any number of different things. But the reality is, we're always being watched. And it doesn't necessarily mean electronically, and it doesn't necessarily mean in a negative way. But one way or another, we always interact with other people. And I know when I'm walking down the street, I'm listening to what goes on around me, and I hear conversations, or I hear how people are doing what they're doing, and getting a lot of information and drawing conclusions like the next person. Prisma Garcia 26:24 Yeah, yeah, it's true. And, and the thing about it, and, you know, I, it's beautiful, how you relate it to your experience, but I also think it's, you know, it's not always people that you would expect, I mean, sometimes, sometimes you get opportunities, because someone was watching the work that you were doing, or or heard you say something or, or you know, and I don't know, it was just an interesting thing. Like we're not, even if we'd have felt, were on our own. We're not, Michael Hingson 26:59 if we would only take advantage of all of that, and maybe engaged some of those Watchers or find ways to develop better relationships, that would probably be really valuable for us to do. But we, we hide too much from that we've been taught to do that we've been taught not to trust. And the fact is that most of the time, there isn't really a hidden agenda that we have to worry about. Prisma Garcia 27:29 Yeah. And one thing that you mentioned was trust. And I, I think about you know, I was reflecting before our conversation, and I thought the one thing that I think, you know, I can say that it's also something that's helped my career and helped me in my current position is, is really building that trust with people, because even in the nonprofits that I've worked at, or have helped start, you know, it's been a trust factor, Michael Hingson 27:59 which talked about that a little bit. How do you develop trust? How do you deal with that trust is so much under attack today? In so many ways? I mean, we see all the polls for what they're worth about. We can't trust politicians, we can't trust what they're doing. One party doesn't trust the other party both ways. And there are so many ways that trust is under attack. How do we deal with that? How do you develop trust? Prisma Garcia 28:28 You know, I think, in my work, Michael, it's a lot of it has been recognizing the stories, the journeys that the people have experienced, listening more, right. And then valuing the assets. You know, I've worked with several nonprofits, in the community. And sometimes we're trying to tackle things that, you know, that maybe some of the leaders haven't even experienced themselves. And so, one of the biggest things for me, and even in my corporate job, well, you know, I come with, you know, sort of this background. And, you know, I frame a lot of things just as everybody doesn't, in terms of what we know, but I realized, like, even when we're doing volunteer, you know, groups, and we're taking them places that they haven't been, I think, you know, just listening, right, listening to the stories and listening to the people and also holding the value, right? It could be, it could be any group of people, but recognizing that we have all these assets, right, because I think, you know, especially in the communities where, you know, I've worked in with different nonprofits and even my own community growing up, sometimes you look at it, and you're like, what, you know, and you could look at the facts and figures and think these communities don't have a whole lot going for them. They don't have anything good, right. And that's not always the case because we haven't heard from from the people and that's been common experience for me. And, you know, I helped co found a mental health clinic here in the neighborhood called community does it and the way I've built trust there is, is really, you know, coming as a very authentic person and then listening to people. Michael Hingson 30:17 So if I could summarize what you're really saying is that you listen, and that you're open to the possibility of trusting. Prisma Garcia 30:29 Correct? Yeah, I mean, I think, open to the possibility of trusting and recognizing that it's not going to be a one time thing. Right. And, and I think sometimes we want to go into communities. You we want to, you know, do things instant, right. I think our recent culture is instant gratification, especially for younger people. And, I mean, I think creating trust takes time and you it's something you have to continue to guard. Because even in the community work I've done it's, you know, we'll always ask myself, you know, what is what, what is the community thing? What should I, you know, I can't make decisions on my own, I need to have these conversations, Michael Hingson 31:18 I've maintained for years that I've learned a lot more about trust, and teamwork by working with a guide dogs than I've ever learned from all of the experts in any of the related fields, because dogs while they love unconditionally, and I think that's absolutely true, their their psyche is that they're, they don't trust unconditionally. But the difference is that dogs are open to trust. So every time I get a new guide, dog, it's about developing a new relationship, it's about developing a new team. And we both don't trust each other. At first, we have to get used to each other, we have to see how the other is and reacts and works. And we have to develop that feeling that we know the other member of the team is going to support us, and that we can support the other member of the team. And it is so true with dogs because dogs don't have hidden agendas. And their expectation is that we don't either. Prisma Garcia 32:24 Yeah, it's true. And, and also making sure that that we put it you know, I think it's hard for us sometimes to know what other people experience, you know, and I found in my corporate life that, you know, I'm Latina, I'm my parents are born and raised in Mexico. And just because, you know, me doesn't mean that, you know, every single Latino, right, and a you know, and so, really, our experiences are so, so unique to our, you know, just our being, and, and I know that it's not, you know, the openness of trust is definitely important. And but it's not easy, right? It's not easy in some of the environments that we find ourselves, and especially like work in the workplace. Michael Hingson 33:15 Have you ever had your trust betrayed by someone? Prisma Garcia 33:20 You know, I could definitely say yes. You know, I can't think of a specific example. But I think I think about family, right? There are times where, you know, we have certain expectations, especially in my family, we have certain expectations of what we should do, and what we should be and collective in some ways, you know, working toward some of the same goals, right? Like, if I have something my sister, that's, you know, we're all going to be happy for one another. And it's all of our success. But I think, you know, sometimes having these expectations does let you down. Right? And it does, sometimes it is the trust factor. Michael Hingson 33:59 Have you ever had a situation on the job where you worked with someone and you thought you could trust them, and you trusted them? And it turned out that that ended up not really being the case? Prisma Garcia 34:10 You know, I can't think back and realize, like, there have been times where I think, and probably this is a common human experience, where sometimes we want what we put into it, and we want that other person to give us as much as we've given them. And so there have been times where I have felt like, oh, I will do anything to support this person, right. And my colleague and I want them to be successful. But then I don't always see them recognizing or doing that for me, right. And, and, you know, I've had to really think about, you know, myself and realize, like, Well, who do I want to be and, and there are moments that, you know, I realized like maybe that other person isn't gonna help me in the same ways that I might help them. And, and I either have to be okay with that, or, or you know, or I change my perspective completely, but I definitely have had my trust broken, especially when it comes to competitiveness, I think people, you know, unfortunately in a corporate structure or even even just trying to climb the ladder, right, I've met a lot of young professionals or younger professionals that, you know, I can recall, like, you know, they're looking after themselves. And, and you know, you can't blame them, right. But at the same time, I realized, like, there's a part of me that felt like betrayed. Michael Hingson 35:44 Yeah. Unfortunately, all too often, they do get blamed. And that that's part of the issue, of course, that starts to send you down the rabbit hole of distrust. But it sounds like what you do is a lot of introspection, and a lot of, to put it in the scientific terms, I guess, analysis and you, you've made some choices about trust. If somebody betrays your trust, you don't go down the path of I'm going to hate them. It does tell you perhaps how you're going to work and react with them to some degree. But hatred isn't part of what apparently is, is the psyche that you've chosen? Prisma Garcia 36:27 No, it's not, you know, I can say that there are moments where you know, you want to you're it's almost like you are called to hate that person, right? Like, oh, I wish they wouldn't have reacted that way. I wish they would have helped me in this way. But I think it actually I tried to make be positive, right. And it doesn't always happen right away. Sure. Sometimes you feel deflated. And you're like, That person could have helped me or could have recognized me or could have done this for me. And I would have done it for them. Right. And they've known that. So maybe that's where the material is. But the for me that I mean, it may not be instant, and I may not hate him. But at the same time, it is a thought process of like, well, you know, I need to be careful, right? So you want to be careful, but at the same time, like, at the end of the day, right? The decisions you make affect you and who you want to be right. And so I'm more focused, internally, right, what am I comfortable sleeping with? Right, like, at night that I hate 10 people? Probably not that maybe I've created some distance, some boundaries to where I found trait found betrayal. Possibly, right, that that might be the case. Michael Hingson 37:38 Yeah. But you can deal with it. You've learned how to deal with it, then you've learned how to do it in a positive way, as opposed to a negative way. Prisma Garcia 37:48 Yeah, and it might not be not might not be instant, right? It might take some time to process and reflect. Michael Hingson 37:56 It takes thinking it's a process. It's absolutely a thought process. So you did call tracking and so on. And then where did you go? Prisma Garcia 38:06 You know, I I realize now that I have a tendency to to talk to all people, right. i Michael Hingson 38:16 i what you said, you said you met someone and then and then jumps and Prisma Garcia 38:19 everything else. Yeah, I met someone I met a woman named Mary. I had met her at Boston Market, right. I submitted an application to a job and she said, meet me near your job. I said, Well, I'll the closest thing I could think of was the Boston Market. So I went there. It was, it was funny, because I thought oh, like we're I'm having this very serious conversations that at a Boston mark, a busy Boston Market, they're going to lunch hour, but the you know, we had a moreso conversation about just people right and how I would approach different situations, you know, regarding people, and she specifically worked in fundraising, right. And so I knew it was that type of job, but it wasn't really a formal interview. And so you know why I met her and then I just really loved her. I was like, she seems great. And so she said, You know, I'm hire, I'm going to be hiring. And she, she hired me to be a fundraising consultant. And I spent probably about four years or so working with her. And we did a lot of fundraising, we fundraise for bigger nonprofits, we fundraise for the Catholic Church, which is a whole other experience that you know, had its pros and cons, because I have grown up in a Catholic household went to Notre Dame, we talked about that. And then now I was fundraising. Right. And the church was a part of it. And it was the first time where I recognized like, wow, this is a Michael Hingson 39:52 business too. Yeah. Very much. And it's it's interesting You talk about Boston Market. Many years ago, I decided for a little while to sell some Amway products. And I went to a major meeting, where there was a diamond distributor who was talking. And they were giving what I'm, I'm sure well, what there was an inspirational speech and was encouraging people to do more. One of the things they talked about was board meetings for their company. And the board was primarily the husband who was speaking and his wife, who was also speaking there. And one of the things that they said was that when they do board meetings, they go to a restaurant, they go to a neutral place. And it forces them to not be volatile, and to actually have better discussions. So I'm not surprised that you, although it was certainly something that seems strange that you found Boston Market was a an interesting place to have an interview. Prisma Garcia 40:58 Yes. And it wasn't, I would say, it wasn't a very formal interview, it was a very different type of interview, you know, it was more about me, and how I would react to all these different situations. That didn't quite seem, I didn't know what it would entail, right? How does this relate to the job? And, you know, I would say, I was glad that I had a lot of energy. And I was able to do all these meetings. But when I, I essentially turned into a consultant, and I traveled around the city, around the country at times. And I did a lot of fundraising. And I realized, like, the one thing way they that people can feel comfortable and have the trust to to give me money for an organization was always because they felt felt that it was I was going to a good cause. But then also that, that it was going to be in good Michael Hingson 41:52 hands. Yep. Trust again. Prisma Garcia 41:56 Yeah, exactly. It came back to that. Michael Hingson 41:59 Did you ever ask Mary, what she was looking for, or why she was comfortable having an interview in a place like Boston Market? Prisma Garcia 42:09 You know what the one thing I remember from that day was that she said, there were going to be moments that we were going to be in settings that we're not able to control. So we're we were potentially going to be meeting with someone for coffee or dinner, and there were going to be so many distractions, but we still had to keep the meeting on pace. And, you know, that was somewhat of her rationale for just having me pick any place that was nearby. And you know, when I suggested that place, I didn't think that she was going to go for it. Because I thought, well, I don't know if this is the I don't know if she wants me to find some more quiet. I don't know if she wants me to find a coffee shop. But you know, she said, No, it has to happen anywhere. Because you have to be able to control the meeting, even if you're in an uncontrolled environment. Michael Hingson 42:59 And that's, of course, the point she was looking to see how you are going to react in a situation you couldn't control. And I'm sure the very fact that you suggested Boston Market must in one way or another have pleased her at least a little bit. Prisma Garcia 43:17 Yeah, exactly. Yeah, she's very comfortable. And she was very season. So she knew she knew all about the business. And essentially, she's in the business of relationships. Michael Hingson 43:31 And besides, the food was good. Yeah, the food was great. Prisma Garcia 43:35 Yeah, we had a good time. She became a great friend. Michael Hingson 43:39 So you did work with her for about four years. And then you switched again, huh? Prisma Garcia 43:44 Yeah. You know, I think people of my generation, Michael, they, they just switch very often in four years. They seem like an eternity at the moment. Michael Hingson 43:54 What did you go next? Prisma Garcia 43:55 So, you know, I started at the end of the job, right, I started to just fly a lot. And I remember running a few campaigns in, in St. Louis, actually, I ended up back in the Midwest. And it came to a point where, you know, I took so many flights that last year. You know, it was like every other week, you know, or every week that I truly start to think why am I in this work? Why don't why I mean, I just happened to run into Mary right. We connected everything worked out and I was in the space and I said I I do actually really love nonprofits and social work, right social impact work. I wasn't calling it that at the time. But I, I left there and I went to work for an organization called the Concilio, which I still you know, support in some ways and it's local here in Dallas, working with primarily immigrant Latino families, to educate them on on health and the school system. And so I had I've known of the organization I saw, they had a job opening, I wasn't quite sure I was going to be a fit. And I knew would be also taking a pay cut. And so, I, I was, you know, there were a lot of ifs, and I can tell you that I took the job, I decided to come back to Dallas, when I took that job and be here full time and primarily, you know, focused on, on on really just working in the community. Michael Hingson 45:32 So this was probably what about 2016? or so? Correct? Yep. So you, you did that? And what did you do for them? Prisma Garcia 45:43 You know, I came in as a Director of Community Health, and that's a big change, you know, I've spent Yeah, I spend time in marketing, I went to be a fundraiser, and then I was back in the health space, so not as a doctor, but as a community health advocate. And so I had a team of staff and they we work together to, to essentially like, you know, provide information to the Latino community and giving them the tools they needed to be successful. And, you know, it was a lot of work, because when you do that, you were, you know, my role was really, you know, I had to look at staff, there were programs out in the community, there was fundraising to do there, you know, including some grant writing, and, you know, just a lot more things than then sticking to just the fundraising or just the marketing. And this was, you know, you have to be good at working with people, and not just people that can give you money, people that are in the neighborhood that may not have a clue of, you know, what, what their potential is, and I can tell you that it was a great position for me, because, you know, I was finally able to put all the pieces together, like, you know, this, it related, like, the families that I saw reminded me of my own family. And so, to me, that was that was the work that I was most interested in doing at the time. Michael Hingson 47:18 How long did you do that? Prisma Garcia 47:19 You know, I did that officially for about a, maybe under two years, maybe a year, in eight months, or nine months. So it was it was not a one time, but you know, I stuck it out with them. And, you know, now I hope that I still help them in some ways with some of their special projects, and, and really have given some time and, and even through money, Graham have helped sponsor some events. So, you know, I tend to have this, this pattern of not leaving places, I should carry some of it with me to the next place. Michael Hingson 47:54 So did you go from there to MoneyGram? Or Did ya, you know, Prisma Garcia 47:57 I had another job. So I lent it at Social Venture Partners Dallas, after the Concilio. Michael Hingson 48:08 And what did you do there? So, Prisma Garcia 48:11 you know, SVP, as they call it, is an international group, right? International Organization, they're different chapters around the globe. And the focus really is on on bringing philanthropists together, essentially, you know, providing the space for philanthropists to learn and grow. And then we were addressing organizations or supporting organizations that were addressing root causes. And so, you know, my work there was also very relational in the sense that our quote unquote, partners, they were individuals in the business community that wanted to give back with more than just their money, they want to give back with their time, and not so much with the clean cleanups, for example, or packing a box, it was more so giving back their skill set. So it was a sort of a pro bono consulting organization. And so I spent a lot of time there, you know, a lot of time being for years, right? That seems to be my, my traditional my long term job. And I left there about a year ago, and that's how I ended up at MoneyGram. Michael Hingson 49:28 You ended up with MoneyGram. Yeah, which is, which is where you are and your associate, you deal with social impact and so on. I want to understand a little bit more about what that is and also, how did you get to become involved in the whole concept of diversity, equity and inclusion? Yeah, so interested in both of those. Prisma Garcia 49:48 Yeah, so anyways, I at SVP, Social Venture Partners, I spent a lot of time and capacity building capacity building of organizations connecting the He's business partners to different organizations, and in Dallas, primarily nonprofits, but also some social enterprises and, and really getting projects off the ground because we realized, like, let's amplify their impact, right? Let's give them more tools, more resources and get them to do more. And, you know, in that work, we found that, you know, at least it was our theory of change or logic that a lot of our community was struggling, and it wasn't so much the poverty factor, as people think, you know, they think, Oh, well, it's because these people are poor. And maybe that's why they need all these things. And that's why these nonprofits exist, it was more so a factor of a racial injustice. And so we looked at it everything from that lens of like, their issues, and even in our own city of Dallas, right? We know that redlining has caused a lot of disparities. And, you know, you have certain pockets of communities that are going to be concentrated in poverty, because of, you know, past racism, and they're still, you know, we all still have some implicit bias. And so, so, you know, coming from that, I, I think, I really start to dig deeper, and like, what is diversity, equity and inclusion mean? You know, we can say, we'll bring all these people to the table, but will we give them let them speak? Right. And so, the equity part was a big component of my SVP role, providing equity, you know, in terms of like, a supporting these organizations that were doing this work, and so, so that's really how I ended up moving into this more dei focused space. And, you know, I could say, at SVP, it was always thinking bigger, thinking, you know, I've done the grassroots stuff, and I still do some of it as a volunteer. But, you know, looking at these issues through a systemic lens, and so, fast forward to money, gram, you know, it is a big, it's a big part of my role. And also, the strategy that we're working on was approved during the height of the pandemic, right, we know that we saw my, we saw George Floyd, the murder of George Floyd was a big conversation starter, and it, we saw it right. And so MoneyGram adopted the strategy in 2020. And so I've come on board along with two of my colleagues to, to bring it to life. Michael Hingson 52:41 So what does dei mean to you? Prisma Garcia 52:45 So to me, the the biggest thing would be, I mean, obviously, there are different ways to track it, there's different ways to measure it, their companies are doing all of this right. But I think, as an employee, and when I really put myself in that position, I think a lot of is belonging, right. And unfortunately, our corporate structures and capitalist viewpoints don't always allow for people with differences or that don't look the same or, or, you know, come from diverse backgrounds. We don't always feel like we belong, right. And so for me, it is broader than having, you know, people that fit certain descriptions, but it's more so the cohesiveness of the culture and below and feeling like you belong. Michael Hingson 53:34 So you come to that environment from the standpoint of being a Latina, and clearly you're dealing with the issue of, I guess, in a sense race, which is, which is fine. But as I got the honor to talk to a number of people about diversity, equity and inclusion, and so on, one of the observations that I make is the problem with talking about diversity is we rarely if ever discussed disabilities. You don't see it you you saw the Oscars do it this year, at least because Coda one, but you don't you don't hear about blind directors or really blind actors. You don't hear about persons with disabilities in a lot of the major kinds of conversations that you hear or participate in when you're discussing diversity. How do we change that? The fact is, most everyone leaves out disabilities even though we're a much larger minority than any of the races. I suppose if you add all the race differences together outside Caucasian that that's a larger minority, but the the number of persons with a disability, according to the CDC is somewhere around 25% of all Americans. How do we change that conversation? Or what are we going We need to do to recognize that we're also part of what's being left out that needs to be included and addressed. Prisma Garcia 55:09 Yeah. And I know, I didn't touch upon that. But you know, I think and I know that October is is National Ability Awareness Month. And not every corporation, not everyone is talking about dei in relation to disabilities. Right. And I. Yes, yeah. And and I think it's time to start. I mean, I know that even in my role I have made been very intentional not to just focus on race, because, you know, coming from a global company perspective, I also realized, like, it's different in Europe, it's different in Africa, it's different in these some of these regions, right. And so I don't want to be just US centric and focus on race or ethnicity. And obviously, you said, you know, there are many disability out there, right. And so, the, looking at things that we cannot see, right, we you know, and so I think for me, it's, it's being humble and learning from individuals. I know that last year, I was able to United just started the job, I was able to connect with a group called Best Buddies, which you might have heard of heard about, and just really started having conversations, how do we, how are we equipped to develop or bring more people and, you know, make sure that they have the comfort here and MoneyGram? And also, and also have what they need, right? Because I think what happens is that sometimes we're not compassionate enough and don't realize, like, you know, even in benefits, like if I don't need something, I'm not probably looking for it. And so how will we know that is by by being more intentional and deliberate about what we're doing, and how we're hiring and what we're offering. Michael Hingson 57:03 In a recent podcast interview here, I had a discussion with someone about diversity and disabilities in general, and how they're treated and persons with disabilities are treated and addressed in other countries. And one of the things that he said was that typically, it's much more obvious that people in other countries who happen to have a disability are treated as less than equal. And he had, for example, had had been has been in a couple of places where families with people with disabilities would even, in part, possibly shun those people. And there was a lot of trafficking of persons with disabilities. And I asked him, How do you contrast that with what goes on in the United States, and he said something very interesting. What he said was, that in this country, the attitudes are mostly still there. But we're more subtle about it. Oh, we love those people. There's the word right, those people, but you know, that we just don't think that they can do the things that we can do, or we're concerned about that. It's much more subtle, because they can't come right out and say it because there are laws. But then the and the laws prohibit supposedly discrimination, but we still do it. And but in a more subtle way, we see it a lot with things like internet access. And as you know, I work for accessibe, which is a company that manufactures products that make websites more usable for persons with disabilities. And we've, in our tracking, found that probably over 98% of all websites don't include a lot of the coding that would really make the website a lot more usable. And the problem is, it's a very expensive process to do it, especially if you do it after the fact. But accessibe has, has created some ways to make it a lot less expensive than most people experience. But the gap grows wider every day as more and more websites are created. And most of those websites are not accessible or inclusive as the way they should be. And again, it's a way of illustrating the conversation that just tends to leave people out. The major companies who really ought to deal with it, whether it be the WordPress is of the world or the Shopify is or Amazon's don't, in creating all the little shopping websites that people create to, to be able to market their products. There's no mandate for accessibility, even Apple on the iPhone. Apple has made the iPhone very accessible in in what it does, but there's nothing in the app store that mandates or requires accessibility to make sure that products are accessible. That Conversation still isn't there? Prisma Garcia 1:00:03 I think you're right. And, you know, I'll, I'll mention, I want to tell you a quick story. And also something that I think has put disability at the forefront for me in terms of the work right. When I was at SVP, one of the things that I was responsible for was a young professionals program. And, you know, each year they would we would take a trip to the Dominican Republic, and the one of the philanthropist, he, you know, before he passed, he said, philanthropy is the is, is a game that everybody could participate in. Right? And in other words, right. And he said that the children in the Dominican, you know, we're playing sports, but there was, there was a student, it was at a, you know, an after school program, that he was blind, or he's, he's blind, and, and he couldn't see. And they were like, how is it gonna play? Right? How is he gonna play soccer, everybody's playing soccer. And they said, the kids drilled a hole in the soccer ball, and they put, they put beans in, and then he could hear he could hear the ball coming. And so it became, you know, it was a story that we would tell, and we were talking about this philanthropist, because he said, you know, philanthropy is something that everybody can have a role in playing play the game, right. And so, for me, I've tried to think of that too, right? We know that we talk, we have conversations of equity in the workplace, I think diversity is only a starting point. As I mentioned, like, if we don't have these conversations, then there's, there's not a lot of point of bringing people that look differently that come from different backgrounds that are have different abilities. It's not until we start to have these conversations and listen, because like I said, I'm not going to be looking maybe for some things that you would look for. And so I think they're having that openness to actually have these conversations and, and really calling it out. Because I think, you know, again, from my perspective, as a Latina, from your perspective, from all of our perspectives, you know, we're gonna find places that we don't, you know, not having that accessibility on a website, Michael, I can only imagine, I mean, how can you feel like you belong, right. And so for me, I'm, you know, you've triggered me in terms of like thinking more about these things. But then also, you know, how do we, I think we just need to keep asking ourselves, like, how can we make the workplace something that we can all participate in, right, just like the story I told I mentioned to you. Michael Hingson 1:02:47 The problem is we have this term disability, and we can change what that means. We've changed what diversity means because diversity leaves out disabilities, we've changed many terminal terms over the years. But when we continue to say, So and so is disabled, that still comes back to they're not as able, as I. And the other part of it is the fear. Oh, my gosh, that could happen to me, because most persons with especially physical disabilities are probably persons who didn't necessarily start their lives that way. I don't know the statistics. So I won't swear to that. But the reality is there. There are lots of people in the Vietnam era, a lot of people came back from the wars, needing a wheelchair and having physical mobility issues and so on, or people who became blind or whatever. So there is also that fear, but we're not disabled. We do have this characteristic that has been generally classified as a disability. But we've got to separate that out from thinking that means we don't have the abilities that other people do. And people always try to hide it Oh, you're differently abled, not the last time I checked, the brain still works the same, I may use different techniques. So there's a lot that we really need to change, and words matter. It is something that we really need to start to work on a whole lot more like people constantly say, well, you're visually impaired. Not really, I don't think I look different because I'm blind visually, that has nothing to do with it, and impaired. Why does it have to be equated to eyesight? Deaf people are deaf or hard of hearing you would be plastered on the sidewalk by a sledgehammer. If you said deaf or hard of hearing or excuse me, deaf or hearing impaired, deaf or hard of hearing is the terminology that is generally used and I think blind and low vision is probably a more accurate term, but impaired again, words matter and we need to change that? Prisma Garcia 1:05:01 Yes, so much of it is and you know, I think we constantly all of us, right, and even at being in this space, I, you know, I have found places where I can learn more as well. And, and I do think that the vocabulary is important. And, you know, I think so much I think so much about, you know, taking some of these words, take the humanity out of us, right. And that happens so often. I mean, whenever we hear immigrants, some sometimes it's, it's now associated to something negative whenever we, you know, people say legal right? Or, or people say, homeless like this, this group of people, and they're just out there, right? They're homeless versus, you know, we're, we're still hold, we can still be a hole and, and be different. And so, you know, it is you bring up great points my go on, and I know that for me, I'm constantly identifying vocabulary that is inequitable, because so often, and I think about it, especially when I do some of our my nonprofit work and, you know, in the mental health clinic, and then the, you know, with the different groups I talked about, you know, is, you know, we talk about like these at risk communities as at risk children, you know, things that essentially almost like downgrade you, right? Like, I was essentially an at risk kid, right? Just because I'm part of the zip code or that neighborhood. And so, but I'm still child, right, I was still child. So I think sometimes, you're completely right, the vocabulary, it's almost like you're less than Michael Hingson 1:06:44 well, and in fact, it, it becomes that way, because that's the way people think, Well, you do a lot with social impact. And I wanted to quickly understand what what that means. And how do you measure it? Prisma Garcia 1:06:57 Yes, in terms of social impact, I mean, I think in my specific role, obviously, I do a lot of things outside my actual job. You know, I'm MoneyGram. But um, money, gram is very focused on volunteerism, employee engagement. There's, we have a found
Living the Dream with Curveball
Miko Lau is a Sex, Love, and Relationships Coach dedicated to supporting women across the globe to reclaim their sexy and become the most powerful, magnetic, and sexy versions of themselves. She is devoted to guiding women to "Blossom" mentally, emotionally, physically, sexually, and spiritually by integrating unhealed, unseen, and unfelt parts of themselves back into wholeness. She also supports women into cultivating a deeply intimate and connected relationship with their bodies and emotions. Her vision is to create a world of pleasure, fun, ease, and joy for all women.
Auf unserem Road Trip von San Francisco nach Los Angeles machen wir Halt in einem Motel. Dort berichten wir von unseren Eindrücken und Erlebnissen in Kalifornien. Außerdem sprechen wir über die Neuzugänge auf unseren Reise-Checklisten und thematisieren eine ungewöhnliche Social Media-Kampagne der Ukraine. Zum Abschluss erklären wir, warum das Wort "Wort" zwei unterschiedliche Pluralformen hat, und demonstrieren, wie wir außerhalb unseres Podcasts Deutsch sprechen. Transkript und Vokabelhilfe Werde ein Easy German Mitglied und du bekommst unsere Vokabelhilfe, ein interaktives Transkript und Bonusmaterial zu jeder Episode: easygerman.org/membership Ausdruck der Woche: "Stell dich nicht so an!" What would be a close translation of “Stell dich nicht so an!” , or in what context(s) would you use it? (Reddit) "The True Size Of..." Das ist schön: Gamechanger Schlafmaske Nerds mit Schlafmaske (Easy German Podcast 339) Das ist ? Leopard-Kampagne auf dem Instagram-Account der Ukraine Protest im Leolook: #FreeTheLeopards geht viral – zahlreiche Promis machen mit (Dresdner Neueste Nachrichten) Eure Fragen Dana aus den USA fragt: Was ist der Unterschied zwischen "Worte" und "Wörter"? Miko aus den USA fragt: Wie schnell sprechen wir in Wirklichkeit? At the Emsland (Easy German 53) Hast du eine Frage an uns? Auf easygerman.fm kannst du uns eine Sprachnachricht schicken. Wichtige Vokabeln in dieser Episode eines Besseren belehrt werden: jemandem zeigen, dass er sich getäuscht hat, jemandem das Gegenteil beweisen; sich als unrealistisch herausstellen Redewendung: "Stell dich nicht so an!": wird benutzt, wenn eine Person mit etwas übertreibt oder schlimmer darstellt, als es ist etwas mit Nachdruck sagen: etwas klar und deutlich sagen die Schlafmaske: Maske, die man sich auf den Kopf setzt und dadurch die Augen vor Licht schützt, um besser schlafen zu können überlebenswichtig: etwas zum Überleben brauchen klugscheißen (ugs): mit seinem Wissen angeben nuscheln: undeutlich sprechen Support Easy German and get interactive transcripts, live vocabulary and bonus content: easygerman.org/membership
W tym odcinku serii Powojnie zaglądam do losów moim zdaniem zapomnianych postaci w historii Polski: Prezydentach na uchodźstwie. Skupiłem się na dwóch osobach: Władysławie Raczkiewiczu i Auguście Zaleskim. Pierwszy dał podwaliny pod funkcjonowanie polskiego ośrodka władzy za granicą, drugi doprowadził do podziałów wewnątrz emigracji. Aby przytoczyć losy Władysława Raczkiewicza cofam się do czasów II Wojny Światowej - to na ten okres przypada główny okres jego prezydentury. Jednocześnie staram się też opisać jego historię po zakończeniu się wojny, a także okoliczności w jakich został porzucony przez sojuszników na Zachodzie. Dzięki odcinkowi dowiecie się dlaczego do końca nie ufał Rosjanom i nie zgadzał się z polityką Mikołajczyka. A także dlaczego wybrał na swojego następcę Zaleskiego? Równie interesująco moim zdaniem prezentują się losy drugiego polskiego Prezydenta na uchodźstwie Augusta Zaleskiego. Co sprawiło, że zraził do siebie znaczną część polskiej emigracji? W jaki sposób inwigilowała go bezpieka? W tym odcinku pokazuję też sytuację polskiej emigracji po 1945 roku, gdy wśród polskich polityków znaleźli się zdrajcy i osoby, które zdecydowały się wrócić do komunistycznej Polski.
Rozmówczynią Mikołaja Lizuta była Magdalena Biejat - współprzewodnicząca Partii Razem, Koalicyjny Klub Poselski Lewicy
Miko brings on the man behind the most aesthetic Catholic IG account: Daniel Apollos. Join us for a discussion on Daniel's conversion, what the Jewish Catholic means, why aesthetics matter, masculinity & more.#masculinity #catholic Follow us on IG: instagram.com/worldablazeCheck out our website: worldablaze.orgDaniel's IG: instagram.com/thejewishcatholicBuy his rosary: https://catholicwoodworker.com/products/custom-rosary-designer?options=c7aa186e-d1f3-406a-b2dd-fb58ab8e14e1YouTube Channel: The Jewish CatholicChapters0:00 Intro1:46 Favorite Japanese Meal3:43 Who is the Jewish Catholic?13:21 From Questions to Conversion18:26 Hardest Part of Becoming/Being Catholic23:48 Liturgy Battle32:29: Authentic Masculinity43:20 Being Well Rounded1:00:13 Parting Words/Advice1:03:30 Go Cop Daniel's Rosary w/ the Catholic Woodworker
Pełna transkrypcja https://radionaukowe.pl/ | wsparcie: https://patronite.pl/radionaukowe***Pamiętacie ulice styczniowe w Waszych miastach? A może jeszcze się zachowały? Nadawane przez komunistów nazwy ulic "17 stycznia" (wyzwolenie Warszawy), "19 stycznia" (Łódź) w fali dekomunizacji w wielu miejscach zmieniły nazwy. Ale gdzieniegdzie jeszcze są (np. w moim rodzinnym Skarżysku-Kamiennej).Styczeń 1945 to był niezwykły czas. Po kilku miesiącach przygotowań rozpoczyna się wielka ofensywa Armii Czerwonej zwana wiślano-odrzańską lub po prostu styczniową. W niecały miesiąc front jest przesunięty o kilkaset kilometrów na zachód. Znikają hitlerowcy, nadchodzą sowieci. – Co było robić? Cieszyć się czy bać? – pytam prof. Andrzeja Friszkego, historyka z Instytutu Nauki Politycznych Polskiej Akademii Nauk.- I to, i to. To znaczy, oczywiście, proporcja strachu i radości rozkłada się bardzo różnie w różnych grupach społecznych i regionach – odpowiada. - W poznańskim strach przed Rosją nie jest tak silny, jak np. w województwach wschodnich czy na Lubelszczyźnie, która jest od lata 1944 roku pod radziecką okupacją, gdzie trwały już wielkie represje, wywożenie AK-owców do Rosji, zakładano obozy jenieckie dla Polaków z AK i innych niepodległościowych formacji – przypomina.Jednocześnie, jak ocenia, dla ludzi, dla których polityka czy postawa niepodległościowa nie była bardzo istotnym pryncypium, to jest przede wszystkim ulga. - Bo to jest koniec łapanek, wywózek na roboty do Niemiec, to jest koniec zagrożenia życia, to jest początek możliwości układania sobie jakiegoś normalnego cywilnego życia, że tak powiem, zwykłego – dodaje.W tym czasie rząd polski w Londynie usiłuję walczyć o niezależność Polski od Stalina. Premier Tomasz Arciszewski wystosowuje oświadczenie, w którym pisze odwołując się do Powstania Warszawskiego: „Pod koniec 63-dniowej walki ginący obrońcy próbując wstrząsnąć sumieniem świata wołali w swej rozpaczy: >>walczymy o wolność, walczymy o prawo do wolności.
Oczywiście, że Kopernik nie był kobietą! Udowadnia to książka Wojciecha Orlińskiego „Kopernik rewolucje”, do której czytania zachęcam. Gdyby Mikołaj Kopernik żył, miałby teraz 550 lat. Co ciekawe, Kopernik żył w czasach chaosu. Trwała wojna krzyżacko-polska, królowie zmieniali się na tronie, renesans kwitł, rozpoczęła się reformacja, a tuż za nią kontrreformacja. Kopernik żył w ciekawych czasach, tak jak i my żyjemy w szalenie intrygujących czasach. Wojciech Orliński napisał książkę, z której wyłania się nam postać mądrego kanonika, który rozumiał zmiany społeczne, robił swoje i radził sobie w trudnych czasach. Po lekturze książki Orlińskiego wydaje mi się, że Kopernik umiał „w relacje z ludźmi”. Bliskość, szacunek, wiara, wytrwałość, oddanie i niechęć do narcystycznych liderów, to w mojej ocenie, wartości Mikołaja. Ciekawi mnie jakie są twoje wartości na czas chaosu lat dwudziestych? O zamku w Olsztynie: https://bit.ly/3vSdzqs Ogrom wszechświata można sobie zapisać i oglądać na tepecie – fotografie z teleskopu Weba: https://go.nasa.gov/3GOeIpj Wywiad z Wojciechem Orlińskim, jeśli chcesz wiedzieć więcej o Koperniku: https://bit.ly/3jU4lr3 Reguły na czas chaosu, więcej recenzji - https://bit.ly/3VXuRx0 Tomasz Stawiszyński – „Żyj w zgodzie ze sobą”. To zwyczajnie niebezpieczne - https://bit.ly/3CzO80N Muzyka użyta w tym odcinku: Roads to Space Travel - W.H. Harrison – https://bit.ly/3RZIM42 Serge Quadrado – Space – https://bit.ly/3d5JgqP Kris Roche – Astronaut – https://bit.ly/3Bm8Or
2023年1月パワープレイ 曲名：Rebuilt by the Devil and Angel アーティスト：RoughSkreamZ 2022/12/30 リリース 収録アルバム：RoughSkreamZ - Rebuilt by the Devil and Angel https://notebookrecords.net/discographyportal.php?cdno=NBCD-046 番組時間：94分38秒 出演者：夕野ヨシミ、たくや ---- 2023/1/5 公開録音したものを配信いたします。 ラジオ記事はリスナーのEEチャンピオンさんが書いてくれているので楽してます。 ＜オープニング＞ ・ぽんぽろぽろぽろ（ずんだもん） ・今年は２５周年 ・よろしくお願いしまﾒﾌｨｰ ・大福くんフガフガ思い出しました ・どっちもかわいい ・大したことは言ってない ・令和５年？ ・AIイラストはじめました ・フォロー規制かかりました ・今はその時ではない ・まもなく１万人 ・ふたり合わせてレッドカード ・年末はマイクラやってました？ ・姪はマイクラやってます ・姪は統合版 ・あんまり言うとバレるから ・一旦全員ブロックしよう ・見えたらメッセージください ・今日はずんだもんだな ＜Ａパート＞ ・ふつおたです ・０時０分５秒にいただいてます ・年越しはなにしてました？ ・姪はいるんですね ・クラッカーの無駄使い ・年末特番のCMの尺がすごい ・RTA in Japan 2022 Winter見てました？ ・カチンコチン湖 ・アーカイブが見当たらない ・コンプラなき医師団 ・正月だから後ろも見せちゃう ・しっぽはないんですよ ・鉄腕DASHのおっぱい問題 ・ゆとりのある生活っていいですよね ・毎年１通 ・お盆の０時０分には何と言うの？ ・夏コミの最終日の０時はあけぼのー ・ぬるぽ村の奇妙な風習 ・夏には忘れてるんだろうな ・2023は素数ではありません ・デレステのCM ・働いてるね杏ちゃん ・１２年に一度流れるね ・クイズ！正解は１２年後 ・次のウサミン年 ・阿佐ヶ谷ロフトじゃん！ ・バーチャル阿佐ヶ谷ロフト ・バーチャル梅チャーハン ・ファミマがちょうどいいかな？ ・ローソンで薄い本売ってるんですよ ・前川さんは１２年後は社長になっててほしいですよね ・バンド名ですからね ・立派なquimさん ・いろんな卑猥な名前の人いますね ・ちゃんと改行してますからね ・快楽さんの座布団3000倍 ・笑点の新メンバーどうするかもめてますよ ・生まれる前から木久扇師匠 ・笑点の縦軸とは ・故人を呼び出す ・ずんだもん漫談 ・あけました？ ・今年の目標 ・フォロワー５万人目指します ・H大学のH学部 ・H学部を連打するっす ・元旦に見ちゃった ・Hの夢卒業したい ・もっといいHな夢見たい ・年女（24）の気持ち ・ひつじ年だけど年男 ・ケガと弁当は自分持ち ・フルレンスとは ・自然な流れ ＜Ｂパート＞ ・ナカタさんの有給休暇をつぶして作ったCD ・CDおチェックお願いします ・みつをたです ・「はかせの中折れ」をインスパイヤ ・男の娘だったが、そのままゴール ・スパゲッティからパスタを見た世代 ・おっぱい言いすぎだよ ・おじさんをおっぱいで釣る ・おじさんは悲しい生き物なんだなあ ・TLをおっぱいで埋めてごめんなさい ・たけだんち ・AI講師は儲かる？ ・呪文を作る感じ ・忍者 忍者 AI術士 赤魔道士 ・魚肉ソーセージにおすぎとピーコ ・上からみつを ・ウサミンはウサギ年で年女かな？ ・ムスコも長いのよ ・しゃぶしゃぶするのが好きです ・皮は少ないけど餡は変わってない ・食パンマンがペラペラに ・パンの耳マン ・弾はどこからもってくるの？ ・R4と書かれたミサイル ・普通の初夢です ・ずんだホライずん ・現実にありそう ・イオシスロードショーで見ます？ ・お便りお待ちしてます ＜エンディング＞ ・イオシスくんがんばってるねのコーナー ・電音部さんに楽曲提供しました ・リングフィットアドベンチャー１周目コンプリート ・冬は寒いからね ・D.wattは韓国へ ・来週は２本撮りです ・１月もがんばって行こう！ ・イオシスロードショーの予定 ・2023年もはじまりましたね ・2023年スカ警カレンダーは作りませんでしたね ・マイクロビキニカレンダー ・5000兆円儲かろう ・コンビニプリントでえっちなのはダメか ・印刷物はいいぞ
Niepoprawni Dyplomaci wracają z podsumowaniem najważniejszych wydarzeń politycznych, dyplomatycznych oraz geopolitycznych z perspektywy USA. Polityka wewnętrzna jak i zewnętrzna w USA była bogata w wiele wydarzeń - między innymi historyczne wybory mid-term, kupno Twittera przez Elona Muska czy inwazja Rosji na Ukrainię, co spowodowało zmianę frontów dyplomatycznych na arenie relacji międzynarodowych m.in. w dziedzinie energetyki, ale nie tylko. Mikołaj Teperek wraz z redaktorami Miłoszem Sową oraz Tomaszem Winiarskim spotkali się, aby przedyskutować najważniejsze punkty na linii czasu 2022 roku (z perspektywy USA). Posłuchaj ich analizy w najnowszym odcinku podcastu Niepoprawny Dyplomata.
Podcast działa dzięki https://patronite.pl/radionaukowe***Mikołaj Kopernik wcale nie był pierwszym, który zaproponował heliocentryczny model Wszechświata. Wiemy chociażby o Arystarchu z Samos, który taki pomysł przedstawił już w III w. p.n.e. Siła Kopernika tkwiła w argumentacji. - Hipoteza Arystarcha z Samos była bardzo ogólnym sformułowaniem, nie stał za nią żaden aparat matematyczny – mówi w Radiu Naukowym prof. Jarosław Włodarczyk z Instytutu Historii Nauki Polskiej Akademii Nauk. - Kopernik znał informacje o modelu heliocentrycznym z różnych lektur, wiedział o istnieniu Arystarcha. Zdawał sobie sprawę, że jeżeli mamy zaakceptować tę koncepcję, to należy ją rozwinąć do poziomu modeli matematycznych, jakie znajdujemy u Ptolemeusza. I Kopernik, koniec końców, to zrobił – dodaje. Prof. Włodarczyk wspomina Ptolemeusza, bo geocentryczny model ruchu planet właśnie tego greckiego matematyka dominował przez stulecia. Na tyle długo, że czuć było potrzebę odnowienia. - W astronomii tamtej epoki, właściwie od końca XV wieku, jest olbrzymie napięcie, potrzeba jakiegoś odświeżenia astronomii geocentrycznej. Kopernik jest postrzegany jako taki potencjalny odnowiciel, jako niezwykle kompetentny astronom – mówi prof. Włodarczyk. Jak wiadomo, Mikołaj Kopernik decyduje się na druk swojego De revolutionibus… pod wpływem wizyty Jerzego Joachima Retyka. Ale – co ciekawe - tuż przed wyprawą Retyka również Watykan namawia Kopernika, żeby zdecydował się na publikację. – Do tego stopnia, że nawet oferowana jest Mikołajowi Kopernikowi pomoc, jeżeli przyśle swój rękopis do Rzymu – opowiada prof. Włodarczyk. Jeden z kardynałów zaoferował się, że na własny koszt przepisze rękopis, odeśle oryginał autorowi, a treść skieruje do druku. Kopernik na ten pomysł wtedy nie przystał. Skoro nawet Rzym namawia Kopernika na publikację, to skąd przekonanie o lęku tego astronoma. Czy i czego się bał? Z kim korespondował, kim się inspirował? Kiedy i gdzie nastąpił moment eureki? O tym wszystkim rozmawiamy z pierwszym odcinku Radia Naukowego w 2023 roku – roku 550-lecia urodzin Mikołaja Kopernika. Bardzo polecam!Link do wydania O obrotach... z 1854 roku, który cytuję w rozmowie:https://polona.pl/item/nicolai-copernici-torunensis-de-revolutionibus-orbium-coelestium-libri-sex-accedit-g,OTgwNzgxMjE/