Podcasts about New America

In 2022, Michelle Yeoh became the first Asian actress to win the Academy Award for Best Actress. But she wasn't the first actress of Asian origin to be nominated. In 1935, Merle Oberon was nominated for Best Actress for the role of Kitty Vane in The Dark Angel, only her second film in the U.S. film industry. But no one knew Oberon was Asian. Her public biography said she was born to white parents in Tasmania, eventually moving to India and, from there, to the UK. But Merle Oberon, in truth, was of Anglo-Indian origin, born in Bombay. She'd hidden her heritage to get around U.S. censorship and immigration laws—a secret she took to her grave, even if many in the industry suspected the truth. Mayukh Sen tackles Oberon's life in Love, Queenie: Merle Oberon, Hollywood's First South Asian Star (W.W. Norton: 2025). Mayukh Sen is the James Beard Award-winning author of Taste Makers: Seven Immigrant Women Who Revolutionized Food in America (W.W. Norton: 2021). He is a 2025 Fellow at New America, and has written on film for the New Yorker, the Atlantic, and the Criterion Collection. He teaches journalism at New York University and lives in Brooklyn, New York. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Love, Queenie. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at@nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Alan talks about you can participate in implementing the Agenda of a New America.

In 2022, Michelle Yeoh became the first Asian actress to win the Academy Award for Best Actress. But she wasn't the first actress of Asian origin to be nominated. In 1935, Merle Oberon was nominated for Best Actress for the role of Kitty Vane in The Dark Angel, only her second film in the U.S. film industry. But no one knew Oberon was Asian. Her public biography said she was born to white parents in Tasmania, eventually moving to India and, from there, to the UK. But Merle Oberon, in truth, was of Anglo-Indian origin, born in Bombay. She'd hidden her heritage to get around U.S. censorship and immigration laws—a secret she took to her grave, even if many in the industry suspected the truth. Mayukh Sen tackles Oberon's life in Love, Queenie: Merle Oberon, Hollywood's First South Asian Star (W.W. Norton: 2025). Mayukh Sen is the James Beard Award-winning author of Taste Makers: Seven Immigrant Women Who Revolutionized Food in America (W.W. Norton: 2021). He is a 2025 Fellow at New America, and has written on film for the New Yorker, the Atlantic, and the Criterion Collection. He teaches journalism at New York University and lives in Brooklyn, New York. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Love, Queenie. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at@nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In 2022, Michelle Yeoh became the first Asian actress to win the Academy Award for Best Actress. But she wasn't the first actress of Asian origin to be nominated. In 1935, Merle Oberon was nominated for Best Actress for the role of Kitty Vane in The Dark Angel, only her second film in the U.S. film industry. But no one knew Oberon was Asian. Her public biography said she was born to white parents in Tasmania, eventually moving to India and, from there, to the UK. But Merle Oberon, in truth, was of Anglo-Indian origin, born in Bombay. She'd hidden her heritage to get around U.S. censorship and immigration laws—a secret she took to her grave, even if many in the industry suspected the truth. Mayukh Sen tackles Oberon's life in Love, Queenie: Merle Oberon, Hollywood's First South Asian Star (W.W. Norton: 2025). Mayukh Sen is the James Beard Award-winning author of Taste Makers: Seven Immigrant Women Who Revolutionized Food in America (W.W. Norton: 2021). He is a 2025 Fellow at New America, and has written on film for the New Yorker, the Atlantic, and the Criterion Collection. He teaches journalism at New York University and lives in Brooklyn, New York. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Love, Queenie. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at@nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/asian-american-studies

In 2022, Michelle Yeoh became the first Asian actress to win the Academy Award for Best Actress. But she wasn't the first actress of Asian origin to be nominated. In 1935, Merle Oberon was nominated for Best Actress for the role of Kitty Vane in The Dark Angel, only her second film in the U.S. film industry. But no one knew Oberon was Asian. Her public biography said she was born to white parents in Tasmania, eventually moving to India and, from there, to the UK. But Merle Oberon, in truth, was of Anglo-Indian origin, born in Bombay. She'd hidden her heritage to get around U.S. censorship and immigration laws—a secret she took to her grave, even if many in the industry suspected the truth. Mayukh Sen tackles Oberon's life in Love, Queenie: Merle Oberon, Hollywood's First South Asian Star (W.W. Norton: 2025). Mayukh Sen is the James Beard Award-winning author of Taste Makers: Seven Immigrant Women Who Revolutionized Food in America (W.W. Norton: 2021). He is a 2025 Fellow at New America, and has written on film for the New Yorker, the Atlantic, and the Criterion Collection. He teaches journalism at New York University and lives in Brooklyn, New York. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Love, Queenie. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at@nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

In 2022, Michelle Yeoh became the first Asian actress to win the Academy Award for Best Actress. But she wasn't the first actress of Asian origin to be nominated. In 1935, Merle Oberon was nominated for Best Actress for the role of Kitty Vane in The Dark Angel, only her second film in the U.S. film industry. But no one knew Oberon was Asian. Her public biography said she was born to white parents in Tasmania, eventually moving to India and, from there, to the UK. But Merle Oberon, in truth, was of Anglo-Indian origin, born in Bombay. She'd hidden her heritage to get around U.S. censorship and immigration laws—a secret she took to her grave, even if many in the industry suspected the truth. Mayukh Sen tackles Oberon's life in Love, Queenie: Merle Oberon, Hollywood's First South Asian Star (W.W. Norton: 2025). Mayukh Sen is the James Beard Award-winning author of Taste Makers: Seven Immigrant Women Who Revolutionized Food in America (W.W. Norton: 2021). He is a 2025 Fellow at New America, and has written on film for the New Yorker, the Atlantic, and the Criterion Collection. He teaches journalism at New York University and lives in Brooklyn, New York. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Love, Queenie. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at@nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In 2022, Michelle Yeoh became the first Asian actress to win the Academy Award for Best Actress. But she wasn't the first actress of Asian origin to be nominated. In 1935, Merle Oberon was nominated for Best Actress for the role of Kitty Vane in The Dark Angel, only her second film in the U.S. film industry. But no one knew Oberon was Asian. Her public biography said she was born to white parents in Tasmania, eventually moving to India and, from there, to the UK. But Merle Oberon, in truth, was of Anglo-Indian origin, born in Bombay. She'd hidden her heritage to get around U.S. censorship and immigration laws—a secret she took to her grave, even if many in the industry suspected the truth. Mayukh Sen tackles Oberon's life in Love, Queenie: Merle Oberon, Hollywood's First South Asian Star (W.W. Norton: 2025). Mayukh Sen is the James Beard Award-winning author of Taste Makers: Seven Immigrant Women Who Revolutionized Food in America (W.W. Norton: 2021). He is a 2025 Fellow at New America, and has written on film for the New Yorker, the Atlantic, and the Criterion Collection. He teaches journalism at New York University and lives in Brooklyn, New York. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Love, Queenie. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at@nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

Jason Withington joins the show--- 816-352-1455 Trash of the Day Chiefs Red Half Hour Chiefs “America's Team” now

This week we road test two vehicles with strong all-terrain credentials: the 2025 Toyota Tacoma TRD Pro Hybrid and the 2025 Lexus LX 700h. Co-host Chris Teague put the Toyota through its paces as winter finally turns to spring in Maine. Host Jack Nerad, accompanied by most of his immediate family, tested the luxury Lexus during a extended weekend in Texas. Both vehicles pair a hybrid powertrain with off-road-focused equipment, so there are interesting parallels between the two in addition to their obvious — and not-so-obvious differences. The Tacoma uses the i-FORCE MAX system, combining a turbocharged 2.4-liter engine and electric motor for a total output of 326 horsepower and 465 lb-ft of torque. The TRD Pro's standard equipment includes part-time four-wheel drive, FOX QS3 adjustable shocks with rear remote reservoirs, and 33-inch Goodyear tires on 18-inch black alloy wheels. Unique to the TRD Pro, IsoDynamic Performance Seats use an air-over-oil shock system designed to reduce body movement on rough terrain. Exterior elements include a TRD grille, cat-back exhaust, and the exclusive Mudbath paint option. Inside, the Teagues got the benefit of the TRD Pro's 14-inch touchscreen with Toyota's latest multimedia system, a 12.3-inch digital instrument cluster, wireless Apple CarPlay and Android Auto, and JBL audio. The truck had Toyota Safety Sense 3.0, offering adaptive cruise control, lane tracing assist, road sign recognition, and proactive driving assist with support features like trailer backup guidance and a digital rearview mirror. While the Teagues certainly didn't suffer, the Nerad family basked in the ultra-luxury of the 2025 Lexus LX 700h Overtrail. The full-size premium SUV combines hybrid performance, off-road functionality, and upscale features that set it apart from previous LX editions. Powered by a twin-turbocharged 3.4-liter V6 with a hybrid system that produces 457 horsepower and 583 lb-ft of torque, it uses a 10-speed automatic transmission and offers full-time 4WD. While it offered a boulevard ride as we discovered on our way to and from Globe Life Field, the 700h Overtrail is loaded for bear on the off-road front. It includes Crawl Control, Active Height Control, and Multi-Terrain Select, plus 33-inch all-terrain tires, locking differentials, and a reinforced platform to support and waterproof the hybrid battery. Inside, the cabin offers massaging, ventilated front seats, heated rear seats, a wireless phone charger, and a cool box. As we did some house-hunting, we made extensive use of the 12.3-inch touchscreen with Lexus Interface, wireless Apple CarPlay and Android Auto, cloud-based navigation, and head-up display. Of course, we'll offer even more detail in this episode. Our guest this week is Frank Hanley, Senior Director, Automotive Benchmarking at J.D. Power. In his interview with Host Jack Nerad, he'll be discussing a very important issue going forward — AI in cars, so look for that. We're certain you'll appreciate Frank's insight. In the news this week we'll discuss a J.D. Power analysis of what the proposed tariffs would do to vehicle prices. The conclusions might surprise you, and we'll have all the details. The state of New York is battling the federal government over its congestion tolls, and it has implications for anyone who's planning to travel into a big city. Plus, Chrysler is celebrating its one-hundredth birthday, and we'll have a look back at some of that company's innovations through the years. It's an impressive list. So we have a lot to talk about this week. It's a jam-packed show. New America on the Road Radio Affiliate We'd like to welcome AM-1550, SLC Sports Radio in Salt Lake City and throughout the Salt Lake valley, to America on the Road. Our special thanks to Program Director Dino Costa, who also hosts a great weekday show on AM-1550. Jack Nerad's newest book Jack is now offering his newest crime novel, Only One Thing Stays the Same,

Caregiving is the most universal of human acts. But also one of the most invisible. While caring for a child, parent or loved one can be meaningful, and life defining, it can also be exhausting and life breaking. Drawing on her groundbreaking research on baby's brains, UC Berkeley psychologist and philosopher Alison Gopnik is leading a multidisciplinary project to better understand the social science of caregiving with hopes of translating those insights into practical policies. Gopnik and policymaker Anne-Marie Slaughter join us to talk about how rethinking our approach to caregiving and how we support care providers, could lead to a better, more functional society. Guests: Alison Gopnik, professor of psychology and affiliate professor of philosophy, UC Berkeley; author, "The Gardener and the Carpenter: What the New Science of Child Development Tells Us About the Relationship Between Parents and Children" Anne-Marie Slaughter, CEO of New America, a non-profit think tank; author of "Unfinished Business: Women Men Work Family" Learn more about your ad choices. Visit megaphone.fm/adchoices

If you don't know about the newly created US Department of Government Efficiency (DOGE), there's a strong chance they already know about you.Created on January 20 by US President Donald Trump through Executive Order, DOGE's broad mandate is “modernizing Federal technology and software to maximize governmental efficiency and productivity.”To fulfill its mission, though, DOGE has taken great interest in Americans' data.On February 1, DOGE team members without the necessary security clearances accessed classified information belonging to the US Agency for International Development. On February 17, multiple outlets reported that DOGE sought access to IRS data that includes names, addresses, social security numbers, income, net worth, bank information for direct deposits, and bankruptcy history. The next day, the commissioner of the Social Security Administration stepped down after DOGE requested access to information stored there, too, which includes records of lifetime wages and earnings, social security and bank account numbers, the type and amount of benefits individuals received, citizenship status, and disability and medical information. And last month, one US resident filed a data breach notification report with his state's Attorney General alleging that his data was breached by DOGE and the man behind it, Elon Musk.In speaking with the news outlet Data Breaches Dot Net, the man, Kevin Couture, said:“I filed the report with my state Attorney General against Elon Musk stating my privacy rights were violated as my Social Security Number, banking info was compromised by accessing government systems and downloading the info without my consent or knowledge. What other information did he gather on me or others? This is wrong and illegal. I have no idea who has my information now.”Today on the Lock and Code podcast with host David Ruiz, we speak with Sydney Saubestre, senior policy analyst at New America's Open Technology Institute, about what data DOGE has accessed, why the government department is claiming it requires that access, and whether or not it is fair to call some of this access a “data breach.”“[DOGE] haven't been able to articulate why they want access to some of these data files other than broad ‘waste, fraud, and abuse.' That, ethically, to me, points to it being a data breach.”Tune in today.You can also find us on Apple Podcasts, Spotify, and whatever preferred podcast platform you use.For all our cybersecurity coverage, visit Malwarebytes Labs at malwarebytes.com/blog.Show notes and credits:Intro Music: “Spellbound” by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Outro Music: “Good God” by Wowa (unminus.com)Listen up—Malwarebytes...

Picking up where we left off.

Alan describes a strategy for advancing the Agenda for a New America into its eventual fulfillment. 

Trevor Aaronson - How a Landlord and a Florida PR Firm Helped Trump Kick Off the Tren de Aragua Gang PanicTrump's “Operation Aurora” swept up only one suspected gang member — but set the stage for a radical expansion of government power.Trevor Aaronson is an American journalist. He is a contributing writer at The Intercept and author of The Terror Factory: Inside the FBI's Manufactured War on Terrorism. He was a 2020 ASU Future Security Fellow at New America and a 2015 TED Fellow.Aaronson is the creator and host of the documentary podcasts American ISIS, which tells the story of Russell Dennison, an American who joined the Islamic State as a fighter in Syria; and Chameleon: High Rollers, which investigates an FBI undercover operation in Las Vegas.In January 2023, Aaronson launched a podcast series called Alphabet Boys about "secret investigations of the FBI, CIA, DEA, ATF, and other alphabet agencies". The first season, "Trojan Hearse", focuses on the summer 2020 COINTELPRO-like infiltration of antifa / Black Lives Matter protesters and activists in Denver, Colorado, following the murder of George Floyd in Minnesota in May 2020. The second season, "Up in Arms," tells the story of a DEA narcoterrorism sting that targeted a former FBI informant who claimed to work for the CIA.Aaronson has won the Molly National Journalism Prize, the Data Journalism Award, and the John Jay College/Harry Frank Guggenheim Excellence in Criminal Justice Reporting Award.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

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Trevor Aaronson - How a Landlord and a Florida PR Firm Helped Trump Kick Off the Tren de Aragua Gang PanicTrump's “Operation Aurora” swept up only one suspected gang member — but set the stage for a radical expansion of government power.Trevor Aaronson is an American journalist. He is a contributing writer at The Intercept and author of The Terror Factory: Inside the FBI's Manufactured War on Terrorism. He was a 2020 ASU Future Security Fellow at New America and a 2015 TED Fellow.Aaronson is the creator and host of the documentary podcasts American ISIS, which tells the story of Russell Dennison, an American who joined the Islamic State as a fighter in Syria; and Chameleon: High Rollers, which investigates an FBI undercover operation in Las Vegas.In January 2023, Aaronson launched a podcast series called Alphabet Boys about "secret investigations of the FBI, CIA, DEA, ATF, and other alphabet agencies". The first season, "Trojan Hearse", focuses on the summer 2020 COINTELPRO-like infiltration of antifa / Black Lives Matter protesters and activists in Denver, Colorado, following the murder of George Floyd in Minnesota in May 2020. The second season, "Up in Arms," tells the story of a DEA narcoterrorism sting that targeted a former FBI informant who claimed to work for the CIA.Aaronson has won the Molly National Journalism Prize, the Data Journalism Award, and the John Jay College/Harry Frank Guggenheim Excellence in Criminal Justice Reporting Award.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

05:04: Brief updates on political parties, RFK Jr., Nicole Shanahan10:12: Review of the Agenda for a New America12:30: Addition regarding sacredness of nature12:57: How Christian culture affects U.S. politics19:07: Moral foundations of rights27:07: Political rights29:58: Do animals have rights?35:06: General moral principles and specific applications42:31: Is eating meat moral?

Today we're talking about a panic that's been simmering for a while but has, in the past couple of years, become a full-blown panic. And that's the technological Cold War that the US is waging with China. (Okay, and now also the tariff war, but that's with pretty much everyone.) Are the Chinese really so radically different from us, or — at least when we're browsing the net — are we the same? Tianyu Fang joins us to compare Chinese and American internet culture, and who suffers from more online brain rot.Our guest Tianyu Fang is a Technology and Democracy Fellow at New America, an editor at Reboot, and formerly co-founded Chaoyang Trap. You can follow him on Twitter @tianyuf, and all of his latest endeavors at https://www.tianyufang.net/. Want even more Panic World content? Like ad-free episodes, bonus episodes, and access to the Garbage Day Discord? Sign up for just five bucks a month at: https://www.patreon.com/PanicWorld.SponsorsWant to sponsor Panic World? Ad sales & marketing support by Multitude, hit them up here: ⁠http://multitude.productions⁠.Credits- Host: Ryan Broderick- Producer: Grant Irving- Engineer: Rebecca Seidel- Researcher: Adam Bumas- Business Manager: Josh FjelstadSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

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 join host Miko Lee as she talks with Asian American theatre artists with works coming up soon. Miko talks with Sunhui Chang and Joan Osato about their world premiere at the Magic Theatre. She speaks with Ethnotech's Nancy Wang and Robert Kikuchi-Yngojo and finally we hear from playwright Jiehae Park on the world premiere of the Aves at Berkeley Rep. Though we may be immersed in a complicated, challenging and very disturbing world, as Grace Lee Boggs said, “A people exercising their creativity in the face of devastation is one of the greatest contributions to humankind.”     Our Guests discussed: April 2-20, 2025 Magic Theatre The Boiling, a tale of american nihilism tickets, wheelchair accessible Joan Osato SFFILM Cedar Road Iyagi Grant Applications:  sffilm.org/artist-development Ethnohtec May 22 Ethnohtec https://sfpl.org/events/2025/05/22/panel-strong-bamboo-3-part-1 Strong Like Bamboo SF Library Koret Auditorium Free https://sfpl.org/events/2025/05/25/performance-strong-bamboo-3-part-2   Coming Up Next Transcript   Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.   Ayame Keane-Lee: [00:00:34] Tonight on APEX Express join host Miko Lee as she talks with Asian American theatre artists with works coming up soon. Miko talks with Sunhui Chang and Joan Osato about their world premiere of the boiling at the Magic Theatre. She speaks with Eth-Noh-Tec's Nancy Wang and Robert Kikuchi-Yngojo and finally we hear from playwright Jiehae Park on the world premiere of the aves at Berkeley Rep. Though we may be immersed in a complicated, challenging and very disturbing world, as Grace Lee Boggs said, “A people exercising their creativity in the face of devastation is one of the greatest contributions to humankind.” So join us on APEX Express as we join some creative conversations.   Miko Lee: [00:01:17] Tonight on Apex Express, we have the collaborators behind Magic Theater and Campo Santo's, world Premier of the boiling: a tale of American nihilism. Welcome playwright Sunhui Chang and video artist Joan Osato.    Joan Osato: [00:01:30] Thank you for having us on, Miko.    Miko Lee: [00:01:33] Yes. First I'm gonna start for each of you with a personal question, which is an adaptation from the amazing Chinaka Hodges. And my question for each of you, and let's start with Joan first, is who are your people and what legacy do you carry with you?    Joan Osato: [00:01:49] I consider myself a child of immigrants in this country. My lineage Japanese, Japanese American by way of Hawai'i a lot of my lineage is carried by that diaspora, but also by my history at Youth Speaks for a couple of decades. And so I consider that my family also and Camp Santo.    Miko Lee: [00:02:12] Yay. Love that. And then Joan, what legacy do you carry with you?   Joan Osato: [00:02:17] A legacy of resilience and I know how to farm. I like to think of myself as a gardener and a great farmer. so that's the legacy I carry with me.    Miko Lee: [00:02:29] Thank you so much, Joan. Sunhui, what about you? Who are your people and what legacy do you carry with you?    Sunhui Chang: [00:02:36] Well, I'm part of the diaspora, the Korean American diaspora that happened in the seventies. My family immigrated to the island of Guam in 1976, as part of developing the island of Guam. As, you know, the Korean diaspora at that time in the seventies, we were kind of shipped around the world a little bit, for our labor. There's a huge Korean population of workers that also went to West Germany and other places, Guam is not as well known, but it was definitely part of that. So in 76, our family landed on the island of Guam.    Miko Lee: [00:03:11] Wow, that's so interesting. And then what about what legacy you carry with you?    Sunhui Chang: [00:03:16] I think my legacy I have to say is that definitely of the immigrant working class, you know, as with a Korean diaspora, there's some things of, like the East Coast Koreans, as you may know, have a different history of being much more educated whereas kind of the west coast and the Korean diaspora during the seventies towards islands like Guam, we were much more working class. So that is my legacy. I have working class roots that, I never seem to be able to get away from and I don't want to.   Joan Osato: [00:03:47] Shoot. That's the same for me too, my working class roots.   Miko Lee: [00:03:51] So it sounds like you two have some commonalities there and that seem to have flowed over into the creation of this play. Sunhui can you talk about an overview of this brand New World premier, the boiling.    Sunhui Chang: [00:04:05] Simply put, it's a story of a tracker and a tracer, a government team that was formed to track and trace down carriers of the virus called the Boiling. and it actually. starts out as a chase, but what we really dig into is more about, identity, home, what it means to be, what is home and what it means to be, at home, and also, about redemption, you know, through our lives, you know? So it's multi-layered, so it's hard to kind of explain in a log line. but it's a chase story that kind of delves into the characters.    Miko Lee: [00:04:40] And I understand this was inspired by a real news story. Can you tell us about that real news story?    Sunhui Chang: [00:04:46] Oh, yeah. the genesis of this we have to kind of go back to the beginning of the pandemic back to December, 2019. I had just finished a gallery installation in San Francisco and then at the end of that I flew back to Seattle. Now at that period of time, there was this talk that there's this virus that's in China. That might affect us, we're not quite certain, but it could be something that could lead to a global pandemic, but we didn't quite know at that time. But then when I landed in Seattle, March 17th, 2020 was the date that Governor j Insley shut down the state of Washington. So that is a big take 'cause, As you know, we all hunkered down at that point. And then in one of the hunkering down is of course, I was watching the news and one of the news story, happened to come across where they were talking about a Econo Lodge motel that the state of Washington had purchased to turn into a quarantine motel, a voluntary quarantine motel where people who, felt that they were infected could check themselves in, to be evaluated. So the story goes that two people had actually checked into this motel totally voluntarily, but one of them the morning after. And this is captured, with a surveillance video. We actually see this one person walking out of their room at the motel. We see them walk across the street to a gas station with a market. Now the surveillance actually then switches over to the gas station surveillance, which shows him walking to the gas mart, walking inside, making a purchase, and then actually walking out. And then we see another footage of the surveillance that's going from the outside surveillance of the store. We actually see him, walk towards the bus stop, get on a bus. And then just the bus leaves and that is it. And the news story ends with that. They had no idea where this person drifted off to. and for me it just, it had this weird, eerie fascination that just grabbed me. and remember at that time, Seattle was such a hotbed for Covid. It was where the nursing home happened, where so many of the elderly had passed on, and we didn't even wanna secondhand touch a surface, so there was a real heightened sense of alarm that was happening. So seeing this story of this potential infected person just drifting off. And then what made it eerie was that I wanted to see what followed up. So for days after I kept watching the news, what is the follow up? What happened? It was never brought on again. Never. Another mention I. and for me that actually made it even more eerie. So it really sat with me, to the point where I had to actually just write down the first words of my, the first line of my story, the boiling. And the first line was, “Carrier X stepped out of the tightness of his room and breathed deeply the soft drizzle of the Pacific Northwest to cool his body from the growing fever.” So those were the first words that I wrote. and then it was just kind of off to the races 'cause the way I write Miko is that I'm very much organic. I kind of set a story and then I become a vessel of the story. I don't come to the story with agendas or anything of that nature. After the first sentence, it just kind of took a life of its own. So that's it.    Miko Lee: [00:08:18] That is amazing. I did not hear that story. and the real news story. That is wild. That would've sat with me too. Joan, had you heard of that story before being brought onto this project?    Joan Osato: [00:08:29] Well, when we did a reading during the pandemic. I did hear parts of that story, but I think it's also a story that a lot of us can relate to, because like here in the Bay Area, of course, we also experienced severe lockdown. Whereas in other parts of the country, I think that the type of lockdown, although being, you know, trying to be really safe for people also induces this sense of isolation and paranoia. And so wanting to get information about who's getting affected and like, where's it happening? I think that was all like kind of a mini obsession of like. Everyone who experienced the pandemic, you know what I mean?    Miko Lee: [00:09:10] How do you think that pandemic has had an impact on theater and on audiences?    Joan Osato: [00:09:16] Well on the most basic levels, you know, like what theaters are grappling with, just in terms of coming out of and recovering from pandemic, I think everybody understands that, you know, theater in general is struggling because of the changes that happened in terms of, Perhaps what people place importance on the isolation that we went through, the kind of, paranoia about being in groups of people and in space and in community together. And so, that affects, you know, theaters and you can, you can see that since the pandemic some have closed. But I also think that, the effects are also that, groups like The Magic or Campo Santo during the Pandemic, we never stopped working and we just figured out innovative ways to, you know, support artists, do radio plays, do, amalgamations of like filming. And so a lot of us became like very, very adept at different types of media that are theatrically based, like Sunhui's play, but that we had to carry out, like online or, you know, through other types of media.    Sunhui Chang: [00:10:30] I just wanted to add on that is that, the pandemic, you know, there there was definitely things that really affected us as humans in such a negative way, but what I also found admiring was, with Joan and Camp Santo and the artists and trying to find creative ways of, still letting, having an outlet. it really was that the story of the boiling would not have taken place if artists such as Joan and Camp Santo. If they didn't, if they weren't able to pivot and make these kind of online transitions at the moment, such as doing readings and such, cause that's how the story was first brought about. So, in many ways it was hard. But also I do appreciate these artists who have been able to kind of keep going and didn't shut down and kept letting the creative creativity somehow flow. I so appreciated that.    Joan Osato: [00:11:20] Yeah, it was definitely a beautiful thing. And then, you know, Miko, throughout the pandemic, you know, we would have like online viewings of our archives or we would sit with audience members, who were joining us and basically hang out for like three, four hours online. So trying to create the space not only to kind of generate support for artists who are. Completely outta work, but also to, just connect us even though we were. You know, obviously under these conditions where we couldn't see each other in person and it wouldn't have been advisable for us to even try to gather, you know, because, I consider us, you know, in-inside of our community extremely vulnerable. So, you know, just grappling with that tension, was really hard.    Miko Lee: [00:12:09] Yeah. And I kind of hear both of you saying that in those really tough times, there was this push to get more creative, to find more ways of reaching people and, and to look at ways that we can, um, innovate given that, and I'm wondering, given our current political climate where things are changing every hour now. I mean, the first Trump administration, it was kind of every week and now it feels like every hour a new kind of devastating thing is happening. I'm wondering how you both think theater can be used as a tool for social change.    Sunhui Chang: [00:12:41] For me Theater and, and really the arts, what I do love about it, is this really, and I kind of touch upon it with the story and such, and it really hit me during, COVID, during the pandemic, is that it's really for me, what it does is listening.  I know as artists, we love telling our story. We love telling what we see, our interpretations and things like that. but I think what I have really come about with the arts is the fact that I like the other side of it is the listening part, for me with my collaborators, that I have to listen. You know, it's not about just me talking, but just listening. So for me, the theater aspect of it and the art aspect of it is that I hope that, as we go through these tough times, what it really has us doing is listening to each other more. One of the things that I really feel in that way and appreciative of listening is the fact that without listeners, there's no storytelling. Listening is really the foundation of our humanity. You know, I mean, just talking really gets us nowhere. What really makes us move forward collectively is listening.   Joan Osato: [00:13:50] Mm, Sunhui heard that. Yes, I heard that. [laughs] As far as theater and kind of responding to the moment. I think, you know, the type of theater that we embody is always speaking to politics is always speaking to, you know, the culture of the moment and especially it's speaking, because a lot of Campo and the Magic's work is like based inside of, theater companies that live, work, breathe, are about by and for the communities, like in the Bay Area right. So there's just no way of separating the kind of politics from what happens like inside of these plays. For the boiling in particular though, I think there's a lot of stuff that, that people can think about and here inside the play that will resonate with them. One, we're, we're talking about a hypothetical, but it's not really a hypothetical situation about a pandemic, a very, harmful, very urgent, current conditions. You know, when there's no CDC to have, get your information from when there's no public health that's functioning in this country, we can, we can see what happened during the last pandemic and just make that comparison and draw those comparisons, you know, what would happen in the next one. Right. also that, you know, to me and Sunhui, you can totally. speak to this, but to me, Carrier X, the person that represents is this kind of violence and nihilism that exists inside of the, you know, the current, you know, psyche or administration right at this moment. this real like. It's definitely violent to the point of not caring whether people live or die and so I, you know, I think that's very striking about the play and it happening right now as premiering it right now, because I think people can draw a lot of parallels between. Like this personality, this complete disorder that seems to be going on, like not only in American politic, but amongst the large population in America itself. You know what I mean? That kind of disregard.    Miko Lee: [00:16:18] Joan, that is so interesting. I wonder if you both can talk a little bit more about Patient X as this kind of figure of narcissism and selfishness that we're seeing that's happening in our broader politics right now.   Sunhui Chang: [00:16:31] Yeah, Carrier X, he does, you know, he does kind of represent this nihilism of American nihilism, which to me it's really historical and cultural. we could go all the way back to the nihilism of manifest destiny, feeling like we have something to do that it was even, maybe. God's order, you know, a higher order that was given to us. And we have to take on this task and finish the task at no matter what cost, right? By any means necessary in a way. and that nihilism for me, I. historical, but when I see it currently that happens now, is that I see nihilism in the fact that people want to cut off Medicaid, Medicare, these social programs that are not just help people actually are crucial and it's really, it's a survival. So for me, when I see that kind of disregard, yes, it's not this overt violent nihilism, but I do find it to be so nihilistic in the damage that it does to all of us, you know? And I do find That this nihilistic violence, there's two flip side to it. The people who are directly affected, and harmed by it, but also the people who carry it are out, who carry out these acts of nihilism they do get damaged as well. So for me, so yeah, the nihilism, it's taken on a different life, but. It's a part of America and it seems to continuously carry forward through our days.    Miko Lee: [00:18:00] And Sunhui with the intentional characters, the lead being Korean American adoptee, and, the detective being a black woman, and then carrier X being white. Share with me a little bit about the racial element and your intention behind making those characters of those, ethnic backgrounds.    Sunhui Chang: [00:18:20] You know, there was no intention, as I said, I just write very organically. So there was never this thought of, oh, here's the three characters. One's gonna be a Korean adoptee, one's gonna be a black homicide detective, and another's gonna be a white carrier. It was never that I. It's hard for me to explain the process, but those were the characters that just kind of naturally came out. for me, it just felt fitting to it. So, I don't have agendas as I write, as I said, so there was none of that. It was just for me, as a vessel of the story, as a story was coming out, it was just. Oh yeah, this character is this, this character is that, and this one is this. so no intention. But, once those things came alive, then the story kind of, evolves around what's, organically happening. So yeah, there wasn't intent, but at the end of it all, of course, I go, oh, I see what has come about and how the story is so, In hindsight now going, oh yeah, I did this. for me, it feels right in the, in the fact that for me, this is America Miko. To me, I, I don't write with an Asian American kind of pen, or, or a brown person pen for me, I actually first and foremost say I'm an American. There's no way around it. and it's simply put too, is that. I am an American. so for me, these characters are just. Natural. And when I know about me being American and knowing about American history, these characters just naturally fit in, you know?    Miko Lee: [00:19:50] Yep. Thank you so much. I've read that you talk about new Americana theater. Mm-hmm. And also Joan, you were talking about how during the pandemic, you know, everybody's learning new techniques, new ways of storytelling, just because everybody was forced to with the lockdown. Sunhui, can you talk more about what you believe New America Theater is all about?    Sunhui Chang: [00:20:12] For me, the reason why I kind of see it as new Americana theater, first off, 'cause it's, it's American, the stories that come out of me is very American. you know, and I recognize it. And for me, I, it is, this is part of the American fabric, so that's why it's called Americana. And for me, I say it's new. 'cause what's new is the perspective that it's coming out from. perspective, which brings on different characters, a different storyline, you know, different message. So yeah, that's, that's it for me when I refer to it as New America in the theater. It's just that, that it's, it's an American tale that now we've been able to incorporate new voices into.   Miko Lee: [00:20:54] I noticed there's a really large list of collaborators. Of course the two of you, but then there's a lot of other people as well. Can you talk about that creative process, how you all were able to work together, how you made decisions about, oh, this is the part we're gonna use film, this is the part we're gonna use, movement.   Sunhui Chang: [00:21:11] Like I said, it's very much organic. Our third major collaborator is Ellen Sebastian Chang. she is the director of the show, and when me, Joan and her, we first started delving into it, we did. It was just sitting down and talking a lot. Going through the scripts, the different skill sets that we bring in. And really it was through the dialogue miko and of us talking with each other, but also listening to each other. and that was a big part is that as we started listening to ourselves, we came out with this direction.    Miko Lee: [00:21:47] And what would you both like the audience to walk away with after seeing the boiling?   Joan Osato: [00:21:52] I think, you know, as Sunhui talked about this, ritual of deep listening and so, the play doesn't guide anyone towards some natural conclusion that they should have about, you know, it's, it's not saying you, you must believe this, it's really leaving it up to the viewer, the listener, to draw their own conclusions. And, I think that, that people who come to this will be incredibly moved. I think that they will see a lot of parallels with what we're going through now and what we've gone through. And examine there is a kind of shameful history that we all need to grapple with, whether we own it or not. You know, Sunhui had talked about manifest destiny and that being like one of the founding, you know, kind kinds of principles that this country is founded upon. And there are many, many others That I think the play touches on which give pause and, and give the people who are engaging with this, room to think and reexamine their own actions in the world and how they approach it.   Sunhui Chang: [00:23:02] I'll just mention as an aside, you know, some of the things that we're looking at is. Our disconnect from the natural world and how that has impacted the natural world. Right.  I think Joan is spot on in, in that about, yeah, first and foremost, I do find this so important once again to say about listening. I do. I, that is the big thing that I would love is that for us to, if we really wanna truly have dialogues, and especially with people who we disagree with, and there is a lot of disagreement in this world right now. and for me, yeah, to, Get us back to a place where we could really listen to each other and not be in such a place where all we wanted to do is kind of say what we have to say. It's almost this thing of, oh, you know, the other has to listen, the other has to listen. And I really would like it that it becomes kind of more inward that we all say, Hey, it is time for me to listen. And then of course just the fact that when, as we listen to each other, what I do find and what I hope that others find as well, is that we're much more connected and we have so many things that tie us together than separate.   Miko Lee: [00:24:19] Well, thank both of you so much for joining us on Apex Express. Is there anything else you wanna add?   Sunhui Chang: [00:24:24] Just one thing, Miko, one of the elements of this play, is this natural world with birding and I would love to just, one of the big inspiration is that it's just a quote from Emily Dickinson and the quote is, “hope is the thing with feathers.” For me, I would love for people to kind of sit with that and think about that and what that means for us as human beings in relationship to the natural world, you know, and the importance of that.   Miko Lee: [00:24:52] Oh, that's such a beautiful visual image. Thank you so much for sharing that. I appreciate both of you for sharing your time with me.    Joan Osato: [00:24:59] Thank you, Miko.    Sunhui Chang: [00:25:00] Thank you Miko    Miko Lee: [00:25:01] The Boiling is a brand new play, and it's a story of a Korean American adoptee Brian, who's a virologist from the Midwest, and a former homicide Detective v, a black woman who lives in the Pacific Northwest, and they're partnered to do this trace and track from north to south. They're following David, a white nihilistic carrier of a feverish virus called the Boiling. This world Premier Show opens to the magic theater and runs from April 2nd through April 20th. You can get more information about this show, including links to buy tickets at our show notes on kpfa.org/programs/apexexpress.   Ayame Keane-Lee: [00:25:42] Next we'll listen to an excerpt from The Camp, the first opera on the Japanese American Concentration camps during World War II. The camp premiered from February 22nd to March 2nd, 2025 at the JACCC Aratani Theater in Los Angeles. Composed by Daniel Kessner, who combines modern classical with Japanese instruments, A libretto by Lionelle Hamanaka, directed by Diana Wyenn, with Associate Director John Miyasaki, 11 singers and a 22 piece orchestra conducted by Steve Hofer. The incidents in The Camp Opera were drawn from different camps where over 126,000 Japanese Americans were imprisoned to see the many Japanese American groups that supported this project, including JANM, DENSHO and Raf Shimpo see the camp opera.com and if you know a place where The Camp can be performed near you, please contact the campopera.com/support.    MUSIC   Miko Lee: [00:27:53] Welcome to Apex Express. I'm so glad to have Eth-Noh-Tec once again, we get Robert Kikuchi-Yngojo and Nancy Wang.   Nancy Wang: [00:28:03] Yay. Yes. Hi. Hello. So glad to be here with you Miko.   Miko Lee: [00:28:07] We have been friends and colleagues for, it feels like a hundred billion years. The times that we're in are so complicated right now. But I just wanna first start with the question I often ask people, which is for each of you to tell me who are your people and what legacy do you carry with you?   Nancy Wang: [00:28:27] Well, I am Chinese American, and I am fifth generation on my mother's side. And. So we go all the way back to 1850 when our family first came on a junk boat and started the fishing industry in the Monterey Bay area.    Robert Kikuchi-Yngojo: [00:28:45] And I am, half Japanese, half Filipino, born in San Francisco, raised in Concord, California, and living in the Bay Area for all my life.   Miko Lee: [00:28:50] And what legacy do you carry with you?    Robert Kikuchi-Yngojo: [00:28:58] Well, I guess the identity I have as an Asian American, Japanese, and Filipino, um, I embrace all of that. The legacy is, as an artist, a performer. I've dedicated my life to creating works that reflect an Asian American consciousness, social, political, cultural. Both traditional works as well as new modern stories and music as well.    Nancy Wang: [00:29:25] And I was also a psychotherapist, so my work in the arts, whether it's dance, which I started out being a dancer and then a playwright, and then storytelling. I always weave in the healing aspect of what we all need to do in our communities. And so I use my art to also bring solace and bring celebration and bring, Depth and and the breadth of who we are as Asian Americans, as human beings, as part of this world, this country, then this city, so that we can celebrate who we are together.   Miko Lee: [00:30:04] Thank you for that. I hear you talking about activism, Asian American history, who we are and healing. I'm wondering if you could give me an update about what you're working on right now.   Nancy Wang: [00:30:14] Well, we have several things in the pipeline. I, for one, just finished writing and has now published Red Altar, which is the story of my ancestors. Three generations are followed in this book, about how they established the fishing industry in the Monterey Bay area. All the ways they had to reinvent themselves as laws were passed against them. The people try to get rid of them. And it's really a story of courage and determination and persistence, ingenuity and obviously success. Because I'm here. So I'm gonna be doing some more readings and that can be found on our webpage. Right. And Robert,    Robert Kikuchi-Yngojo: [00:30:55] I am focusing on archiving our work and after working with Nancy and creating Eth-Noh-Tec for the last 43 plus years, we have developed over 200 stories, and we put them on stage. We've written them, some of them are now being written as a compendium of stories. These are Neo-traditional folk tales and myths from Asia. And, people don't know much of this, but I am also an artist, so I'm creating illustrations that depict these stories. That's one project.   Nancy Wang: [00:31:23] Yeah, that's our next book. but what we're really excited about is our second Strong Like Bamboo, stories of resilience in the era of Asian American hate, but it's really broadened beyond Asian American because this year on May 22nd, will be a gathering of Latino and Asian artists and musicians, storytellers, and activists to just sit around and really share our stories, share our music, share our concerns, and to build bridges with each other because it, we will need to increase, our coalitions during this era. It's gotten worse, so we really need to come together.   Robert Kikuchi-Yngojo: [00:32:08] and we titled it strong like bamboo because of the Asian anecdote about, you know, one bamboo can snap, but together binding many bamboo together we're much stronger. So it's a call out to the community to bring all of our constituents and broaden that so that we are strong, as people of color.    Nancy Wang: [00:32:25] And of course we're gonna have food, which always brings us all together. But also bamboo can bend. Without breaking, so that's on a Thursday, May 22nd. But on May 25th, I have curated four other storytellers to tell their stories of their racist experiences and how they came through it to a healing place.    Robert Kikuchi-Yngojo: [00:32:48] There's a gathering of Asian American storytellers, both from the Chicago area and also from the west coast.    Nancy Wang: [00:32:53] And there'll be a panel so they can ask questions and we can have discussions. But after that, the people in the audience will have the opportunity to break up into small groups of three in which they get to share their own stories, their own concerns, and that's really the whole thing is about inspiring people to come through what they're going through and coming out, on the other side with some hope and healing. Because when we share our stories, we lift that particular burden of, say our story about our racist experience. We lifted off our own shoulders and we get to share it. With someone who's listening with compassion and we don't feel alone anymore. It's really a powerful, powerful way to find community connection, relation, and strength.   Robert Kikuchi-Yngojo: [00:33:45] And we'll have also in both of those events, resources in earlier years, I was an Asian American songwriter and did a lot of songs of not just identity, but of unity. I'm also gonna be singing a theme song called Bamboo, which is part of the title and also, a work by Chris Jim, famous of the Chris and Joe Asian American Duet from years ago. the one song we're still here, though it was written 30, 40 years ago. It's still pertinent to what's going on now, especially declaring that America is a multiracial, multiethnic, texture of society.   Nancy Wang: [00:34:20] and, in 2026 we're gonna bring on, African-American and Euro-American, storytellers also, so that we really have a multicultural representation of all who we are and how we still will need to come together. I hope things will be better by 2026, but who knows?    Miko Lee: [00:34:39] Thank you so much for sharing about how storytelling can really be a tool for social change. Is there anything else you wanna share with our audience?   Nancy Wang: [00:34:47] Yeah. please come to our strong like Bamboo on May 22nd and 25th is gonna be at the San Francisco Public Library Main Library, both are free to the public May 22nd the Thursday at May 22nd, it's gonna be in Hispanic room,    Robert Kikuchi-Yngojo: [00:35:05] and what time?   Nancy Wang: [00:35:06] Six to seven-thirty. And on Sunday it'll be in the presentations, the performances in the panel will be in the Koret auditorium, and then small groups will convene in the Hispanic room, which is right next door, and it's got elevators. So no problem, in getting there. Plus Bart and the bus is, it's easy to get there. And so that's what we wanted so that people could feel welcome.    Robert Kikuchi-Yngojo: [00:35:35] And that second show on Sunday Strong like Bamboo will feature our guest artist storytellers, professional storytellers. One of them being a local Eleanor Clement Glass who's half African American and Filipino, talking about her experiences. And then also, two guest artists from Chicago, one of them being Lillian Ji, who is a Japanese American hapa. Then third is, Archie Jun, who is a Thai American gay comedian storyteller who is a total riot. we are really wanting to blend many of our communities together to hear this talent Yes. And to deal with the topics.    Nancy Wang: [00:36:10] So we would love for the LGBTQ plus community to come out as well and support him and feel proud because all of the stories will, will really showcase our strength and our ability to deal with these things and come out the other side. So we are hoping that in the process of telling our pain, but coming out, on the other side, that it will be an inspiration for everyone to keep going during this difficult, very difficult time.    Miko Lee: [00:36:41] Thank you so much for joining me today.    Nancy Wang: [00:36:44] You're welcome. Thank you   Ayame Keane-Lee: [00:36:46] You are listening to 94.1 KPFA and 89.3 KPFB in Berkeley, 88.1 KFCF in Fresno, and online worldwide at kpfa.org.   Miko Lee: [00:37:05] Welcome Jiehae Park to Apex Express. I am so excited to talk to you about the world premier of the aves opening at Berkeley Repertory Theater, May 2nd through June 8th. Welcome to Apex Express.    Jiehae Park: [00:37:19] Hi, Miko. It's so nice to be here. Thanks for having me.    Miko Lee: [00:37:22] I wanna just first start with a personal question, which is, who are your people and what legacy do you carry with you?   Jiehae Park: [00:37:31] Hmm. I love the phrasing of that question. I was born in Korea and I came to the states when I was three years old with my parents who came to go to graduate school. And my father's family fled the north during the war. And my mother's family had always been in the south. And I definitely think that who they are and where they came from is a big part of who I am and the questions that I think of. And in a lot of ways, not just, racially and culturally, but also in terms of their interests. They're both scientists. This play deals, I hope thoughtfully with questions of identity and consciousness, that I've always been interested in.    Miko Lee: [00:38:18] And what legacy do you feel like you carry with you from them?   Jiehae Park: [00:38:22] Hmm. I mean, I write a lot about immigrants. This play isn't specifically about that, but in a lot of my previous work, I, I have. have written a lot about immigrants and I feel like my parents, you know, they came to this country when they were in their twenties. They didn't speak the language. They came from a generation of folks and at that time in the country where they were really, they had to be a certain way to survive. And I think that, intensity of work ethic, and the things that you also have to give up in order to get to where you think you wanna be, that question is, is part of their legacy to me. It's a, it's a gift and also something that, like a lot of other immigrants, I think I'm always sort of turning over in my mind and, and trying to look at from other angles.    Miko Lee: [00:39:12] Thank you for sharing. I'm wondering if you can talk to us about, first this title of your, world Premier, the aves. Where did this title come from? What is it about?    Jiehae Park: [00:39:23] So the title is the Latin word for Birds. And, the play there's a mystery that sort of unspools early on. So without, without giving too much away we see this old couple on a bench, on a park bench, and they have clearly been together for a long time and they are having a conversation that seems like a very ordinary conversation. And over the course of the first scene, we soon learn that they are discussing, doing something that will have ramifications throughout the rest of the play. And the aves is a word that I loved because of the association with birds. There, there are birds that make an appearance in this play, in both pedestrian and unexpected ways, in mysterious ways, and hopefully humorous ways. and then the connotation also of Ave Maria and this, this feeling of the sacred, which also infuses the play, which has a lot of humor, but also when I was writing it, I was thinking a lot about nature and the passage of time and this feeling of awe that I get when engage with nature. And I think that word also has those connotations for me.    Miko Lee: [00:40:46] And that sounds like a mystery that people need to come to find out more about. Can you tell us what inspired this work?    Jiehae Park: [00:40:54] I used to live on the northside of Central Park in Harlem, and I had this tiny, tiny little window that looked out, onto the north side of the park. And every day I would sit down to write and through my tiny window, I would see the same man sitting on this bench every day. And as the seasons changed and the leaves changed and the light changed, but still every morning there was the consistency of seeing the same person. And I think I I was thinking a lot about the passage of time and of nature shifting And I think subconsciously I was thinking about getting older myself. This was a time before I had children, but I was starting to become aware of my parents aging and generationally My peers, also our parents were aging and, and starting to have, you know, the complications and the beautiful things that can come with that. So I think all of that was a big soup in my subconscious. and I sat down and I wrote the first scene very quickly and then. I didn't know exactly what the rest of the play was gonna be, but I knew structurally that the first scene would be this old couple and that the second scene would be, a slightly different configuration of, of bodies. But that was hard to be so mysterious, um, and that the nex scene would be a different specific configuration of body. So I was thinking about the age of the bodies that you're watching and the story evolved from that. And I guess I should say that the play is set in a moment sort of best after now. So it's not the present, but it's not the distant future. It's certainly not like hard sci-fi by any means, but I think it uses some tools of speculative fiction. To ask questions that hopefully are illuminating about ourselves now.    Miko Lee: [00:42:59] Interesting. Did you ever talk with the man in the park that inspired this piece?   Jiehae Park: [00:43:05] You know, it's so funny. After the first couple of weeks of watching him, I realized he lived in my building and I hadn't noticed him before.    Miko Lee: [00:43:18] Wow. That's amazing.    Jiehae Park: [00:43:20] And I think that that's also something that. I had been thinking a lot about at the time this question of presence and attention, especially in New York, which is a city that is so loud. I mean, I love, I love New York and there's so many things that I love about New York, but it is such a loud city and it is hard to hear yourself think and, and the quality of attention in any. I was gonna say in any city, but in like any moment in our extremely chaotic world, I mean, especially now, that sort of quiet present quality of attention that I think is so beautiful and so rare, and I associate with, I'm not religious, but, but when I was a kid, I was, and this, this quality of, of sacred space, I think I was, I was really curious about that. And at the time, I think I had also that year gone on a silent meditation retreat. so trying to bring that quality of attention to my ordinary life as a urban citizen, I think was also part of the experience of writing the play. But yeah, he lived in my building and I hadn't noticed him before. And so this question of what do we notice and what do we need to shift in ourselves to notice what's in front of us and has been in front of us.    Miko Lee: [00:44:44] I am hearing you talk about a sense of presence and, and time passing. I'm wondering if that is what you want the audience to walk away with or are there other things that you're interested in provoking with this piece?    Jiehae Park: [00:44:57] As an audience member, when I go to any play, I always hope to leave a little bit different than how I entered and. That shift can be really subtle. In fact, for me as an audience member, sometimes it feels more profound when it is subtle. So on, on like at like a really baseline level. We've been having a lot of conversations with the design team about how to create this. Quality of space that feels different from the mundane so that when we enter the space of the theater, so for our body chemistry changes and that we are being asked by the play to lean in and pay attention perhaps in a way that we're not asked to pay attention, in, in the world outside of that room. And to be able to request that of an audience and share that with an audience. Together, I think is such a beautiful thing. And, and one of my favorite things about any collective experience when, when it all feels like we're breathing together. And my hope is that that's something that we can create, at a, like a biochemical level in our bodies, on a sort of more. Intellectual, emotional, philosophical level. I think there are questions that the play is asking about, what makes us, us and memory and the ability of a person and a relationship to change over a long period of time. And over the course of events that. May require forgiveness. those were certainly things that I was thinking about while I was writing it. So there's also that, that more character relational level of questioning that, that I think, will resonate with people, in different ways depending on where they are in their lives. And then I think especially because, you know, there's a lot of conversation about sandwich generation now, like folks, I. Who have dealt with aging themselves or aging parents and, the complexities and possibilities that can create. I think that there's another layer of the play that stirs up some of those questions as well.   Miko Lee: [00:47:04] Speaking of complexities and possibilities, I understand that you studied music and that you're also an actor and then you also write for Marvel's Runaways. Can you share a little bit about how these different elements impact you as a writer, as a creator?    Jiehae Park: [00:47:20] Yeah, so I started as an actor, which I think a lot of people do, mostly because it's the most accessible thing. Like you can audition for a play. You can't sort of audition to write a play. you can just write a play. But that, I think, came later for me. I don't really perform a ton anymore, although I did love it. and then the shift to television happened eight or so years ago. There's a big movement of playwrights moving into television, during peak tv. And they're very different. there is some shared similarity in storytelling instincts and craft. but the mediums are just really different, so I feel like I get very different things from, from all of them. I feel like I learned being a performer for a long time. As an artist, it's just getting to bump up against people who you think are fascinating and learn from them what you like and what you don't like, and who you wanna be and who you don't wanna be. and from tv I think I learned, To not be so precious. It takes a really long time for me to write a play. and I used to think, oh, I have to go into the woods and like be silent for a month and then like a play will emerge. And like sometimes it happens and it, that feels like a blessing when it does. But in TV, because there's so much money at stake and so much time pressure that you know, when something's due, it's just due and you turn it in. And if it's not perfect, you just deal with it and you make it as good as you can. And I think that there's a certain amount of shedding of perfectionism, which has been really healthy for me. but I do. Love the theater for the ability to spend a long period of time contemplating something and, and making it with a group of people who feel inspiring and we're all moving towards the same thing. and I think there's a little bit more space or a lot more space in the theater for things that may feel. mysterious or more open. whereas in television especially these days with the sort of decline of peak TV, there's an expectation of propulsion. Like overt propulsion, if that makes sense. That is not a criticism like, you know, I also love TV. but it is, it's like the pace of it is different and the ask of it is different than the ask of a play and and the baseline thing of just, you're not in the same room with the people experiencing it that is so special in theatre.    Miko Lee: [00:49:45] How do you go about shifting that mindset for that kind of speed of TV that you're describing versus the kind of longer meditative state of creating theater?    Jiehae Park: [00:49:55] Yeah, I mean, I think there's hopefully a two-way exchange. Because I also think that bringing some of those qualities of thoughtfulness and deliberation to the world of TV within the container, within the boundaries of it, can be incredibly useful. And ultimately a lot of the things that delight people, delight people regardless of the format. So that, like, that feeling of inevitable but surprising, like that's something that is of tremendous value in all mediums, right? I think for me personally, when I write a play. I try to make a space in my life that is a little more still. and I have a toddler now, so that's challenging. But in a way, working in television has been really helpful for that because, you know, I don't have five hours in the middle of the day to, you know, be with myself and listen to the trees. I maybe have like 30 minutes, but to try to drop into that as. quickly and without angst, without like working myself up about it. 'cause that's a waste of time. That's been a useful lesson to learn. Whereas working in television can feel a lot less lonely also than playwriting because in a writer's room, most shows in the states are written in the writer's room, there are few exceptions, and you're with a group of people. And so there's a sort of energetic exchange happening there that in a play only happens much, much later when you're in rehearsal and ideally in production. there's a sort of joyful energy and exchange that can happen in a writer's room, both when you're breaking the story and then ultimately when you're in production. And there's like many, many more people involved. And there's the crew and the cast and you know, all of the technical departments and producers. I feel like you mentioned, Code switching earlier. And, humans are so adaptable and I think we automatically sort of shift our brain chemistry and our body chemistry in response to the environment around us. sometimes very consciously, sometimes unconsciously, sometimes both. so I think a certain amount of that is just, okay, these are the given circumstances. And then, you become who you need to be in that space.   Miko Lee: [00:51:54] Thank you for sharing. Okay. I have one last TV question, which is that given that everybody's in this writing room together and you're, there's kind of a speed that's attached to it, do you feel like things get thrown out more quickly and with less kind of emotion attached to it than in theater?    Jiehae Park: [00:52:10] It's possible. I think it depends on the person. So I just worked on season four of the morning show last year. And there is a real need on that show because it deals with the news to be absorbing what's happening in the world and shifting the story based on that. And so that there has to be a sort of lightness around that. So in that kind of environment, absolutely. but I've also been in other rooms where someone got really attached to an idea, and maybe it was clear that that idea wasn't gonna work out, but there was, there was still like something, in it that wanted to be held onto and, and it may be hung on for a long time. And that process. Also could have happened, like that exact parallel process could have happened in a play. And actually in neither of the situation, is that necessarily a bad thing? Like is there something about that idea that maybe is not the idea itself, like the emotional core underneath it or the deep, deep idea underneath it that is useful? That even if the manifestation of the thing doesn't continue, if the manifestation gets thrown out, but like the real thing that was underneath it was important gets folded in in some unexpected way. I don't think it's a bad thing either way. It just is the peculiarities of any particular process.   Miko Lee: [00:53:22] And it sounds like it's about the people too, right?    Jiehae Park: [00:53:25] Yes, definitely. Absolutely. Yeah, yeah. Yeah. And I've certainly been in that book where I'm like, oh, I really think it's like this. It's gotta be this, it's gotta be this. And then, you know, two years later, I look at the draft, I'm like, oh, no, no, no. It, it is definitely not that. Like let me take that entire thing out. and it just was in that particular moment, I wasn't ready for whatever reason to let go of that idea. And that's okay. I am now, and then it moves on.    Miko Lee: [00:53:48] We're circling back to the beginning of the conversation about the aves, which is about presence and being in that moment. And where you are in that moment might be, no, this isn't right. And then years later you say, oh yeah, that wasn't right. Or that was right.   Jiehae Park: [00:54:03] Yeah, exactly, exactly. To listen to yourself is a, you know, I, I am, I've been doing this for a long time now and, that is still something that I feel like I always have to learn, that I think just is a human.   Miko Lee: [00:54:15] Yes. The perennial lesson of Yes, intuition. I'm wondering if you could tell our audience why they should go see the aves.    Jiehae Park: [00:54:24] My hope is that if you are curious about a certain kind of experience and attention in the theater, that you'll accept our invitation to this play, which is an unusual play. I don't think that everyone should see this play, just like, I don't think everyone should see any particular work of art, but if the things that we've been discussing, if the sort of vibe that you're getting from this conversation resonates with you, then the experience of seeing this play with a group of people who are also curious about that kind of experience may be something. That is enjoyable for you and would probably therefore also be enjoyable for that audience to be together with you and for the play to be together with you in that space.    Miko Lee: [00:55:17] Thank you so much for spending time chatting with us. Folks can see the aves at Berkeley rep May 2nd through June 8th. Thank you so much, Jiehae.   Ayame Keane-Lee: [00:55:26] For you Asian American film makers out there: SFFILM announced a new annual filmmaking grant in partnership with Cedar Road. The SFFILM Cedar Road Iyagi Grant is dedicated to fostering bold, original feature film projects that amplify Asian and Asian American perspectives on screen. In Korean, iyagi means “story”—a word that embodies the heart of this grant's mission: to champion storytelling as a powerful bridge connecting people across cultures and perspectives. A link to the grant application will be available in our show notes.    Miko Lee: [00:55:58] Please check out our website, kpfa.org to find out more about our show tonight. We think all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world because your voices are important.    APEX Express is created by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, Aisa Villarosa, Estella Owoimaha-Church, Gabriel Tangloao, Cheryl Truong and Ayame Keane-Lee.  The post APEX Express – 4. 3.25 – Coming Up Next appeared first on KPFA.

Alan explains the background of the agenda for a New America and describes its main proposals and principles.00:19: Why I was covering independent and alternative party candidates02:19: The Third Party Project and my change of direction04:49: How my focus will be shifting going forward08:13: Historical background for the agenda for a New America12:08: An overview of the agenda17:21: The economic agenda: voluntary exchanges21:10: The economic agenda: employee control of big businesses24:00: The economic agenda: property rights & responsibilities29:00: The economic agenda: a guaranteed income

Front Row Classics welcomes author Mayukh Sen to celebrate the life of Merle Oberon. Mayukh recently penned "Love, Queenie: Merle Oberon, Hollywood's First South Asian Star". The book captures the complicated life of Oberon while also providing a picture of the political atmosphere of the first half of the 20th century. Brandon and Mayukhk discuss the origins and research process of the book as well as some of the high points of Oberon's life. "Love, Queenie: Merle Oberon, Hollywood's First South Asian Star" is available from W. W. Norton & Company wherever books are sold. Mayukh Sen is the James Beard Award-winning author of Taste Makers. He is a 2025 Fellow at New America, and has written on film for the New Yorker, the Atlantic, and the Criterion Collection. He teaches journalism at New York University and lives in Brooklyn, New York.    

This week, I'm joined by two powerhouse leaders doing the heavy lifting to strengthen our country's innovation economy—Shalin Jyotishi from New America and Deb Volzer from SME. These folks aren't just talking about change—they're out there building the systems to make it happen. Shalin walks us through how New America's Future of Work and Innovation Economy initiative is working to ensure that technological advancement strengthens—not sidelines—the American middle class. He discusses the launch of a new national Accelerator for Community Colleges, designed to build capacity across institutions and regions engaged in tech-based economic development.Deb, meanwhile, shares how SME's 90-year legacy is evolving with their new Manufacturing Imperative Workforce Pipeline Challenge; a bold initiative engaging 25 community colleges across 17 states. Her team is addressing workforce gaps through scalable, employer-driven models that align local needs with national priorities in manufacturing and advanced technologies.Their work offers a roadmap for how public, private, and educational sectors can come together to meet the moment.If you care about making workforce development more effective—or just want to hear from people who are rolling up their sleeves and doing the work—this is a conversation you won't want to miss.AMCC's podcast is made possible in part by the expertise of Mike McAllen, founder of Podcasting4Associations. Are you part of an association also looking to produce a podcast? Let us get you in touch with Mike.Thank you to the Economic Development Administration for their partnership in producing this podcast. This podcast was prepared in part using Federal funds under award 3070145 from the Economic Development Administration, U.S. Department of Commerce. The statements, findings, conclusions, and recommendations are those of the author(s) and do not necessarily reflect the views of the Economic Development Administration or the U.S. Department of Commerce.

Amidst all the chaos and hysteria of Trump 2.0, some things in America never change. As the Atlanta based journalist Brian Goldstone notes in There Is No Place For Us, America's “invisible” working homeless population have been mostly ignored by both Democratic and Republican administrations. Goldstone reveals how approximately 4 million Americans who work full-time jobs cannot today afford housing, with many living in extended-stay hotels, cars, or doubled-up with others. He highlights that 93% of homeless families in Atlanta are Black, and argues that these working homeless are victims of both failed economic policies and a lack of tenant protections. Goldstone criticizes both political parties for failing to address this crisis and calls for treating housing as a fundamental right rather than a commodity.Five Key Takeaways from this Goldstone Interview* Working Homelessness Crisis: Approximately 4 million Americans experience homelessness despite holding jobs, forming an "invisible" crisis where families live in extended-stay hotels, cars, or doubled-up with others.* Racial Disparity: In Atlanta, 93% of homeless families are Black, revealing significant racial disparities in housing insecurity, despite the city's reputation as a "Black Mecca."* Exploitative Housing Systems: Extended-stay hotels function as expensive, unregulated homeless shelters where families pay significantly more ($17,000 for eight months in one case) than they would for apartments they can't access due to credit barriers.* Bipartisan Failure: Both Republican and Democratic administrations have failed to address the root causes of housing insecurity, with Goldstone describing it as a "bipartisan abandonment of working poor people."* Housing as Commodity: The fundamental problem is treating housing as an investment vehicle or commodity rather than a basic human necessity, allowing it to be "auctioned off to the highest bidder."Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Brian Goldstone is a journalist whose longform reporting and essays have appeared in The New York Times, Harper's Magazine, The New Republic, The California Sunday Magazine, and Jacobin, among other publications. He has a PhD in anthropology from Duke University and was a Mellon Research Fellow at Columbia University. In 2021, he was a National Fellow at New America. He lives in Atlanta with his family.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting the daily KEEN ON show, he is the host of the long-running How To Fix Democracy interview series. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown child This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

What if the key to a stronger, more inclusive workforce starts before college? In this inspiring episode, we sit down with Taylor White, Director of Postsecondary Pathways for Youth at New America's Center on Education and Labor, to explore how youth apprenticeships are transforming the future of work. Taylor shares her insight as the leader of the groundbreaking Partnership to Advance Youth Apprenticeship (PAYA) initiative, which has been breaking down barriers and opening doors for young people since 2020. From real-world experience to meaningful career pathways, discover how these innovative programs expand opportunity, bridge the education-to-employment gap, and shape a brighter future for the next generation.   Show notes More about the Partnership to Advance Youth Apprenticeship (PAYA)  Subscribe to Barbara's LinkedIn Newsletter

Navigating a New World with Michael Lind In this episode of The Puck, Jim Baer sits down with acclaimed writer and policy thinker Michael Lind, co-founder of New America and author of Hell to Pay: How the Suppression of Wages is Destroying America. Together, they explore the global economic shifts, the U.S. political realignment, the dangers of intellectual gridlock, and the implications of Cold War II with China. Lind offers a wide-ranging, provocative analysis—from the future of the middle class and productivity growth to the challenges facing both major political parties. If you're looking for sharp insight into where the world—and America—might be headed, this is a must-listen.

Welcome back to Just For This. Each week, host Rabbi Liz P.G. Hirsch (she/her) interviews women in leadership about women and leadership. Inspired by the story of Esther, we feature powerful stories of women who stand out in their fields, who have stepped up just for this moment.  Our guest this week is Lisa Lerer, a national political correspondent for the New York Times, covering the intersection of campaigns, elections, and political power. She is co-author of The Fall of Roe: The Rise of a New America, a book chronicling the fate of federal abortion rights over the past decade. We discuss the dismantling of Roe v. Wade, women's leadership in politics and beyond, and what's at stake in this crucial health care arena in the months and years ahead. View the transcript here. Follow Just For This on instagram: @justforthispodcast

Hello, and welcome to another episode of the Well Woman Show! I'm your host, Giovanna Rossi, and I'm absolutely thrilled to have you with us today. We're diving deep into one of the most pressing topics of our time—how we work, live, and care for one another—and what that means for all of us striving for a healthy and fulfilling life.Today, I'm honored to introduce a truly inspiring guest: Bridget Schulte. Bridget is an award-winning journalist and author, as well as the director of the Better Life Lab at New America. For decades, she's been at the forefront of investigating the dynamics of workplace culture, time use, and gender equity. Her latest book, Overwork: Transforming the Daily Grind in the Quest for a Better Life, offers a powerful look into how our current systems are failing us and what we might do to change that.In our conversation today, we'll unpack several key issues:The impossible balancing act between being the “ideal worker” and the “ideal caregiver”The systemic challenges that working parents—especially women—face every dayAnd how businesses and policies can evolve to create more humane, productive work environmentsBridget's impressive background includes more than two decades at the Washington Post, where she honed a journalist's eye for detail and a passionate commitment to justice. She doesn't just highlight problems; she provides actionable solutions for transforming how we think about work, care, and the immense potential of human collaboration.Before we jump into this conversation, let's take a moment to acknowledge Women's History Month! I have a special message to everyone who supports this movement for change: We want more than a thank you or a shout out once a year.To our spouses and partners listening—please, make the invisible workload visible and share the load. if you don't know what the invisible workload is, go look it up. And when you look after the kids please don't call it babysitting, you are parenting your kids.To the employers and business leaders out there—show us your commitment to paid family leave, flexible scheduling, and support for caregivers. Track and share your data on employee pay by gender, race, and job category.And to our public officials and candidates—please move beyond telling us you love your mom or your sister. You're supposed to love your mom! Let us know your concrete plans and policies that center women's lives and needs.A huge thank you to all who are part of this change. Today and all month long, we celebrate the progress we've made and the work that still lies ahead.I'm also excited to share that Family Friendly New Mexico is celebrating its 10-year anniversary with an event featuring none other than Bridget Schulte herself. As part of their annual awards luncheon at Sandia Resort & Casino on April 30, Bridget will be coming to New Mexico to share her insights on building workplaces that truly work for families. With companies recognized for their innovative approaches to family-friendly practices, this event promises to be a catalyst for change. For more details, check out familyfriendlym.org. The Well Woman Show is a proud sponsor of this incredible event.The Well Woman Show is thankful for support from Collective Action Strategies—a consulting firm dedicated to driving systemic change so that women and families thrive. And don't forget to take the Well Woman Life Movement Challenge Quiz at Well Woman Life Challenge – Well Woman Life . Trust me, these two questions could very well change your life!All the links and additional information are available at

Everything is changing, but not by accident. As the nation drifts further from its foundations, the consequences are no longer distant warnings—they are unfolding in real time. This urgent discussion exposes the forces reshaping society, the cost of silence, and the path forward for those who refuse to surrender their values. Bold, unapologetic, and essential, this is a wake-up call for those who recognize what's at stake. Check out the book HERE! https://www.swrc.com/product/the-new-america/

This episode is packed with information and resources to help you on your way! We are teaching and learning about the importance of food values and intentional eating. We are also sharing our journeys with food, the significance of understanding food choices, and how to cultivate a sense of wonder about the food we consume. Here we go:  Diet for a New America by John Robbins The Food Revolution by John Robbins The Omnivore's Dilemma: A Natural History of Four Meals by Michael Pollan Food Rules by Michael Pollan Folks, This Ain't Normal by Joel Salatin Nourishing Traditions by Sally Fallon Animal, Vegetable, Junk: A History of Food from Sustainable to Suicidal by Mark Bittman The Biggest Little Farm documentary: https://www.imdb.com/title/tt8969332/ ToxyFree Valet Service: https://www.toxyfreepath.com/toxyfree-valet Pour Moi Climate Smart Skincare –– This is the skincare regimen we both use and love. It's affordable luxury skincare from France. It's unlike any skincare line in the world – and so are the results. Use code PM20 for an extra 20% off almost everything in the Pour Moi store online! https://shop.pourmoiskincare.com/ Connect with Us! Our Website: https://www.besttothenest.com/ On Instagram: https://www.instagram.com/besttothenest?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw== Our Facebook Group: https://www.facebook.com/groups/1088997968155776/ Best to the Nest is our podcast all about creating strong, comfortable, beautiful nests that prepare us to fly. We are the podcast that brings you home. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This episode is packed with information and resources to help you on your way! We are teaching and learning about the importance of food values and intentional eating. We are also sharing our journeys with food, the significance of understanding food choices, and how to cultivate a sense of wonder about the food we consume. Here we go: Diet for a New America by John RobbinsThe Food Revolution by John RobbinsThe Omnivore's Dilemma: A Natural History of Four Meals by Michael PollanFood Rules by Michael PollanFolks, This Ain't Normal by Joel SalatinNourishing Traditions by Sally FallonAnimal, Vegetable, Junk: A History of Food from Sustainable to Suicidal by Mark BittmanThe Biggest Little Farm documentary: https://www.imdb.com/title/tt8969332/ToxyFree Valet Service: https://www.toxyfreepath.com/toxyfree-valetPour Moi Climate Smart Skincare –– This is the skincare regimen we both use and love. It's affordable luxury skincare from France. It's unlike any skincare line in the world – and so are the results. Use code PM20 for an extra 20% off almost everything in the Pour Moi store online!https://shop.pourmoiskincare.com/Connect with Us!Our Website: https://www.besttothenest.com/On Instagram: https://www.instagram.com/besttothenest?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==Our Facebook Group:https://www.facebook.com/groups/1088997968155776/Best to the Nest is our podcast all about creating strong, comfortable, beautiful nests that prepare us to fly. We are the podcast that brings you home. Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Everything is changing, but not by accident. As the nation drifts further from its foundations, the consequences are no longer distant warnings—they are unfolding in real time. This urgent discussion exposes the forces reshaping society, the cost of silence, and the path forward for those who refuse to surrender their values. Bold, unapologetic, and essential, this is a wake-up call for those who recognize what's at stake. Check out the book HERE! https://www.swrc.com/product/the-new-america/

Back in 2018, Ben and I started NoRA as we watched the Parkland school shooting unfold. In the work to reduce gun violence and the deadly influence of the gun lobby on our nation we discovered so many amazing people doing so much important work in this field. Kris Brown, president of Brady, is one of those people, and we're happy to have her here with us today.

Everything is changing, but not by accident. As the nation drifts further from its foundations, the consequences are no longer distant warnings—they are unfolding in real time. This urgent discussion exposes the forces reshaping society, the cost of silence, and the path forward for those who refuse to surrender their values. Bold, unapologetic, and essential, this is a wake-up call for those who recognize what's at stake. Check out the book HERE! https://www.swrc.com/product/the-new-america/

America is collapsing—at least, that's what history tells us. What if the fall of Rome holds the key to understanding America's future? Could decentralization, crypto, and figures like Elon Musk change the course of history?In this conversation, Max Borders, futurist and author, breaks down the parallels between America and the fall of Rome, why the U.S. government fears decentralized power, and how crypto, DOGE, and Elon Musk's vision could be shaping the next revolution. From Trump's impact on populism to the rise of AI-driven governance, this discussion challenges everything you think you know about the future of America.Guest: Max Borders • Futurists & Author of “The Decentralist” • More from Max: https://underthrow.substack.com/Related Podcast Episodes:▶ Ex-Mercenary Exposes John McAfee Secret → https://youtu.be/WjvD6hmBz-s▶ KGB Spy Exposes Secrets of Evading CIA/FBI and Cold War Espionage → https://youtu.be/QcgawisAPoIChapters:00:00 Intro01:00 Political Power Corruption03:14 Fleeing States Turning Blue13:00 How States Are Using Migrants for Political Gain23:03 America's Collapse27:30 Comparing America to the Roman Empire Collapse43:16 America's Forever Wars46:13 Civil War or Silent Collapse54:56 Rise of the Military Industrial Complex1:02:18 Failure of the EU & Military Defense1:20:56 Comparison to Communism1:34:19 2016 Donal Trump v.s 2024 Donald Trump1:39:23 Trump's Populism and Shifting to Populism1:50:19 Trump Assassination Attempts2:14:40 Who Can be the Lefts Donald Trump2:27:14 Elon Musk & Decentralization 2:33:16 Elons Musk Goal with DOGE2:39:56 Why Elon Switched to Support Trump2:44:20 The Ecosystem of Crypto 2:53:44 The New America in 50 Years2:59:50 Outro#podcast #Decentralization #Crypto #ElonMusk #America #doge #politics #RomanEmpire #reedmorinshow

The DOGE has bit hard into the Education Department. It canceled nearly $900 million in contracts from the department's research division. Some of the research was directed at what helps students achieve school success. Here with one reaction on this approach the strategic advisor in the education policy program at New America, Lisa Guernsey. Learn more about your ad choices. Visit podcastchoices.com/adchoices

For the past week, Donald Trump has publicly aligned the United States more with America's adversary, Vladimir Putin, than with its allies, Ukraine and the rest of the Europe. With the next German chancellor talking about having to seek security independence from the United States, NATO leaders are already ramping up their defense spending. Ben Wallace was the UK's Defense Secretary during Russia's invasion in 2022 and has been a staunch supporter of Ukraine. He joins Christiane in London.   Also on today's show: Gregg Nunziata, Executive Director, Society for the Rule of Law; New America senior adviser and retired naval officer Theodore R. Johnson    Learn more about your ad choices. Visit podcastchoices.com/adchoices

Black History Month has been officially celebrated in the U.S. since President Gerald Ford signed a proclamation nearly 50 years ago declaring the month of February as time to recognize the contributions Black people have made to the country. This year, though, the Trump administration's attacks on diversity, equity and inclusion have put a chill on the celebrations. We talk about how we arrived at a place where honoring Black history is being questioned just five years after the so-called racial reckoning of 2020. Guests: Adam Harris, senior fellow, education policy program of New America; former education reporter, The Atlantic; author, "The State Must Provide: Why America's Colleges Have Always Been Unequal--and How to Set Them Right" Michael Harriot, journalist; poet; public historian; author, "Black AF History: The Unwhitewashed Story of America."; co-founder, ContrabandCamp.com, a subscription-based journalism project covering the intersection of race, politics, and culture. Tiffany Caesar, assistant professor of Africana studies, San Francisco State University

Everywhere I look, I see the telltale hysteria that gripped my former party back in 2016. I was a good soldier for the Left, fighting for what I believed was the right side. The hysteria spread, infecting every corner of the Left, and at some point, we lost touch with reality.What was this that had happened to us, I wondered. Why had we abandoned our humanity? Why did the side that used to be the good guys, at least to me, feel so comfortable sliding into dehumanizing and degrading half the country? As I began asking questions, sooner or later, I would get the same one back again, “What happened to you?” But the right question was never what happened to me.The Democrats have had almost ten years to figure out that the problem was never Trump. It was always us and the pristine utopian world we built for ourselves using the internet, social media, and a charismatic leader like Barack Obama. It was a New America where everyone got a seat at the table.The Left always says the first Black president rousted the racists out of hiding, and they lost their minds. But the truth is, it was those of us on the Left who lost our minds with the first Black president. It became an addiction for us, this euphoric feeling of changing the world, of making history. Of being good.Trump's win kicked all of us into a level of mass hysteria we couldn't control then or now. As you can see by the headlines, every day is the end of the world - it's a threat to Democracy, a Constitutional Crisis, a Nazi salute, a fascist in the White House. Everyone is to be feared. Every decision they make is bad and dangerous.The Democrats didn't learn the lesson in 2016 that Trump represented a large portion of this country that had been abandoned and forgotten by us. We not only decided we were the chosen people to bring our new world to the promised land, but we also decided they were the bad people — the RACISTS — who must be kept out of our government, our culture, our institutions, our corporations — even our restaurants, our movie theaters, and our award shows.As with most utopias gone wrong, there was no due process or presumption of innocence. It was accuse lest ye be accused. It was apologize or else. It was guilty until proven innocent. We all lived in fear of a tyrannical mob on social media with the power to decide who gets to stay and who must go.What was all of this madness, this hysteria we were experiencing? It was a combination of algorithms our brains were not ready for, and how we'd cut ourselves off from the everyday lives of ordinary Americans. They at least still had one foot in normal. But us? We were crippled by delusion, ruled by hysteria.Trump threatened everything. He knocked down our carefully constructed utopian diorama with glee, and his supporters loved him for it. We just weren't prepared for how hysteria takes hold and scares so many of us all at once. It was pure madness, and we were helpless against it.The hysteria spread to the corporate press, who got most of their information from Twitter, which was a mass hysteria delivery device. And that hysteria trickled down into the homes of anyone watching mainstream cable news. It was at the gym, airports, and the laundry mat. It was white noise in the background, selling our delusions as our new normal —quietly scaring Americans every day of the week.The hysteria brought down the empire as we attacked every potential threat to our utopia - movies, books, history, statues, buildings, words, jokes, poetry, science, marriage, men, the color of our skin, the words that came out of our mouths, what we could say online and what we couldn't. Obey the rules or else. Be quiet or else. Sooner or later, it was bound to get to the kids. And when it did, not enough of us stood up and said ENOUGH.Usually, this would be when the FBI busts in and breaks it all up, but we controlled the FBI, so they would do nothing.I was one of the lucky ones. I got out in 2020 after the mob turned on me one too many times. If it wasn't true about me, everything they accused me of, there was a good chance it wasn't true about MAGA either. And it wasn't. If you wanted to tell my story as a former Good Liberal who was radicalized online, you can think of it like this: I was radicalized by kindness, decency, and a desire to be free.All the Democrats and the Left ever had to do was snap out of it. See Trump and his supporters as actual human beings and not separate us and categorize us by the color of our skin and insist that the bloodshed of history still lives inside all of us. They could reach out and show some decency, let the rest of the country back inside the castle walls. But even that was too much of a risk for an empire in collapse.But be that as it may, until the Democrats get a grip, they must be kept out of power. So herewith are guidelines for the Democrats on how to keep losing elections, and I really think they should listen to me, don't you? This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit sashastone.substack.com/subscribe

Every day, billions of people consume animal products without considering the impact on their health, the environment, and animals. Colleen Patrick-Goudreau, celebrated advocate and bestselling author, dedicates her life to unraveling this disconnection. Known as the "Joyful Vegan," she has transformed countless lives through her books, podcasts, and innovative approaches to promoting compassion and ethical living. On the NHA Health Science Podcast, hosted by Dr. Frank Sabatino, Colleen shared her personal journey and the pivotal moments that shaped her commitment to a plant-based lifestyle. From her early experiences to her groundbreaking projects, Colleen offers a blueprint for creating a more compassionate world. The Social Disconnect: Why Compassion Is Suppressed From childhood, most people are taught to love animals through stories, toys, and films. Yet, these same animals often appear on dinner plates, leading to a subconscious compartmentalization of compassion. This societal norm not only numbs empathy but also perpetuates harm on a massive scale. Colleen explores this phenomenon in her work, helping people recognize and reconcile this internal conflict. Pivotal Moments: The Journey to Advocacy Colleen's journey began with a profound awakening sparked by reading Diet for a New America by John Robbins and later Slaughterhouse by Gail Eisnitz. These books exposed the grim realities of industrial farming and the culture of violence it perpetuates. These experiences led her to align her values with her actions, igniting her passion for advocating for animals and ethical living. A Multi-Faceted Approach to Advocacy Through her seven bestselling books, including The Joyful Vegan, and her long-running Food for Thought podcast, Colleen provides practical tools and inspiration for those seeking to make more compassionate choices. Her Joyful Vegan Trips further illustrate how plant-based living can be abundant, joyful, and culturally enriching, breaking down myths about veganism being restrictive or inaccessible. Upcoming Projects and Expanding Impact Colleen's upcoming book, A Year of Compassion: 52 Weeks of Living Zero Waste, Plant-Based, and Cruelty-Free, set to release in March 2025, is a comprehensive guide for anyone seeking to live more ethically and sustainably. This work reflects her ongoing commitment to empowering individuals with knowledge and practical steps to align their values with their daily lives. A Call to Action Colleen's message is simple yet powerful: Start where you are. Change doesn't have to be all or nothing. Small, consistent steps toward reducing harm and embracing compassion can lead to transformative outcomes for individuals, animals, and the planet. To explore Colleen's work and discover how you can create meaningful change, visit JoyfulVegan.com. Full post at: https://www.healthscience.org/podcast/119-colleen-patrick-goudreau/

atlantis #newamerica #atlantisrising #palmbeachflorida#maralago #bermudatriangle #5d-12dearth #indigoangel #charlestongridworktour #civilwartimelines #margarittavillecruise #bahamas #stargates #sarasota #gulfofamerica#paranormal #supernatural #conspiracy #conspiracytheory #artificialIntelligence #ufo's #artBell #paranormalActivity #yeti #Bigfoot #gridwork #podcastMissy's Email :HillNiteVision@gmail.comMissy and Indigo Angel, Noko Gridwork trip https://learn.indigoangel222.com/courses/charleston?ref=9b4a39

Trevor Aaronson - The Bizarre Story Behind The FBI Fake Documentary About The Bundy FamilyOct 20, 2024Trevor Aaronson is an American journalist. He is a contributing writer at The Intercept[and author of The Terror Factory: Inside the FBI's Manufactured War on Terrorism. He was a 2020 ASU Future Security Fellow at New America and a 2015 TED Fellow.Aaronson is the creator and host of the documentary podcasts American ISIS, which tells the story of Russell Dennison, an American who joined the Islamic State as a fighter in Syria; and Chameleon: High Rollers, which investigates an FBI undercover operation in Las VegasFrom the Intercept:Ryan Bundy seemed uneasy as he settled into a white leather chair in a private suite at the Bellagio in Las Vegas. As the eldest son of Nevada rancher Cliven Bundy, who had become a national figure for his armed standoff with U.S. government agents in April 2014, Ryan had quite a story to tell.Eight months had passed since Cliven and hundreds of supporters, including heavily armed militia members, faced off against the federal government in a sandy wash under a highway overpass in the Mojave Desert. Now, here in the comforts of the Bellagio, six documentary filmmakers trained bright lights and high-definition cameras on Ryan. They wanted to ask about the standoff. Wearing a cowboy hat, Ryan fidgeted before the cameras. He had told this story before; that wasn't the reason for his nerves. After all, the Bundy confrontation made national news after armed agents with the Bureau of Land Management seized the Bundy family's cattle following a trespassing dispute and the accumulation of more than $1 million in unpaid grazing fees. But the Bundys, aided by their armed supporters, beat back the government, forcing agents to release the cattle and retreatBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

Trevor Aaronson - The FBI Manufactured War on TerrorMar 19, 2023When America declares war, or 'enforces freedom', who profits?Trevor Aaronson joined Ed Opperman to discuss how the FBI actively encourages conflict and escalation in order than certain individuals can profit from nefarious activities. It's a startling insight into how much money can be made from manufactured combat. Trevor Aaronson is a contributing writer for The Intercept and a 2020 ASU Future Security Fellow at New America. He is also author of The Terror Factory: Inside the FBI's Manufactured War on Terrorism and creator and host of the documentary podcasts American ISIS and Chameleon: High Rollers.Aaronson co-founded the nonprofit Florida Center for Investigative Reporting in 2010. Investigations he edited spurred changes to law and policy and won honors from the National Headliner Awards, the National Awards for Education Reporting, Investigative Reporters and Editors, and the Green Eyeshade Awards.Trevor more recently appeared on the Opperman report to discuss his series, the Alphabet Boys.Website             : Trevor Aaronson Become a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

Donald Trump is holding back no punches — taking Canada, Mexico and China to task in his first 2-weeks in office. Over the weekend tariffs were placed on the trio of countries for failing to secure their borders and ripping America off for years. DEI is on it's way the door. Newly enacted executive orders have put Government employees on notice that woke nonsense of gender pronouns will no longer be tolerated. Guest: Rich Valdes - Radio Host, America at Night Sponsors: My PillowWww.mypillow.com/johnPromo code ‘John' for max savings on all productsSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Jan 26, 2025 Stand Up is a daily podcast that I book,host,edit, post and promote new episodes with brilliant guests every day. Please subscribe now for as little as 5$ and gain access to a community of over 700 awesome, curious, kind, funny, brilliant, generous souls Check out StandUpwithPete.com to learn more GET TICKETS TO PODJAM II In Vegas March 27-30 Confirmed Guests! Professor Eric Segall, Dr Aaron Carroll, Maura Quint, Tim Wise, JL Cauvin, Ophira Eisenberg, Christian Finnegan and More! Anya Kamenetz speaks, writes, and thinks about generational justice; about thriving, and raising thriving kids, on a changing planet. Her newsletter on these topics is The Golden Hour. She covered education for many years including for NPR, where she co-created the podcast Life Kit: Parenting. Her newest book is The Stolen Year: How Covid Changed Children's Lives, And Where We Go Now. Kamenetz is currently an advisor to the Aspen Institute and the Climate Mental Health Network, working on new initiatives at the intersection of children and climate change. Anya Kamenetz speaks, writes, and thinks about generational justice; about thriving, and raising thriving kids, on a changing planet. Her newsletter on these topics is The Golden Hour. She covered education as a journalist for many years including for NPR, where she also co-created the podcast Life Kit:Parenting in partnership with Sesame Workshop. Kamenetz is currently an advisor to the Aspen Institute and the Climate Mental Health Network on new initiatives at the intersection of children and climate change. She's the author of several acclaimed nonfiction books: Generation Debt (Riverhead, 2006); DIY U: Edupunks, Edupreneurs, and the Coming Transformation of Higher Education (Chelsea Green, 2010) ; The Test: Why Our Schools Are Obsessed With Standardized Testing, But You Don't Have To Be (Public Affairs, 2016); The Art of Screen Time: How Your Family Can Balance Digital Media and Real Life (Public Affairs, 2018), and The Stolen Year: How Covid Changed Children's Lives, And Where We Go Now (Public Affairs, 2022). Kamenetz was named a 2010 Game Changer in Education by the Huffington Post, received 2009, 2010, and 2015 National Awards for Education Reporting from the Education Writers Association, won an Edward R. Murrow Award for innovation in 2017 along with the rest of the NPR Ed team, and the 2022 AERA Excellence in Media Reporting on Education Research Award. She's been a New America fellow, a staff writer for Fast Company Magazine and a columnist for the Village Voice. She's contributed to The New York Times, The Washington Post, New York Magazine and Slate, and been featured in documentaries shown on PBS, CNN, HBO and Vice. She frequently speaks on topics related to children, parenting, learning, technology, and climate to audiences including at Google, Apple, and Sesame, Aspen Ideas, SXSW, TEDx, Yale, MIT and Stanford. Kamenetz grew up in Baton Rouge and New Orleans, Louisiana, in a family of writers and mystics, and graduated from Yale University. She lives in Brooklyn with her husband and two daughters. The Stand Up Community Chat is always active with other Stand Up Subscribers on the Discord Platform.   Join us Monday and Thursday at 8EST for our Weekly Happy Hour Hangout!  Pete on Threads Pete on Tik Tok Pete on YouTube  Pete on Twitter Pete On Instagram Pete Personal FB page Stand Up with Pete FB page All things Jon Carroll  Follow and Support Pete Coe Buy Ava's Art  Hire DJ Monzyk to build your website or help you with Marketing

Jason Marczak, vice president and senior director of the Adrienne Arsht Latin America Center at the Atlantic Council, and Peter Bergen, CNN's national security analyst, vice president for Global Studies and Fellows at New America and host of the Audible/Fresh Produce Media podcast "In the Room with Peter Bergen," offer analysis of President Trump's statements in his inaugural address about taking back the Panama Canal.

On today's show: Jason Marczak, vice president and senior director of the Adrienne Arsht Latin America Center at the Atlantic Council, and Peter Bergen, CNN's national security analyst, vice president for Global Studies and Fellows at New America and host of the Audible/Fresh Produce Media podcast "In the Room with Peter Bergen," offer analysis of President Trump's statements in his inaugural address about taking back the Panama Canal.

Today on the Matt Walsh Show, Trump is already off and running as President of the United States. We'll review the battery of executive orders and actions from just his first day in office. And we'll talk about what I think was the most important part of his inaugural address on Monday. Also, it only took about three hours, but we now have the first big media hoax of the second Trump administration. This time, they're claiming that Elon did a “Nazi salute” at Trump's rally. Nonsense, of course. And, speaking of executive orders, Trump's order banishing gender ideology from the federal government is spectacular and may be the final nail in the coffin for this hideous and evil ideology. Click here to join the member-exclusive portion of my show: https://bit.ly/4bEQDy6 Ep.1519 - - - DailyWire+: Join the celebration! Use code 47 at https://dailywire.com/subscribe for 47% off your membership today! "Identity Crisis" tells the stories the mainstream media won't. Stream the full film now, only on DailyWire+: https://bit.ly/3C61qVU Get your Matt Walsh flannel here: https://bit.ly/3EbNwyj - - - Today's Sponsors: Balance of Nature - Go to https://balanceofnature.com and use promo code WALSH for 35% off your first order PLUS get a free bottle of Fiber and Spice. PureTalk - Switch to Pure Talk and start saving today! Visit https://PureTalk.com/WALSH - - - Socials:  Follow on Twitter: https://bit.ly/3Rv1VeF Follow on Instagram: https://bit.ly/3KZC3oA Follow on Facebook: https://bit.ly/3eBKjiA Subscribe on YouTube: https://bit.ly/3RQp4rs

All of this week's episodes of It Could Happen Here put together in one large file. Government Small Enough to Fit in Your Bedroom feat. Steven Monacelli & Dr. Michael Phillips CZM Rewind: Police Drones and You CZM Rewind: You Already Know How to Organize Anarchism in Gran Columbia feat. Andrew Anarchism in Central America feat. Andrew You can now listen to all Cool Zone Media shows, 100% ad-free through the Cooler Zone Media subscription, available exclusively on Apple Podcasts. So, open your Apple Podcasts app, search for “Cooler Zone Media” and subscribe today! http://apple.co/coolerzone Sources: Government Small Enough to Fit in Your Bedroom feat. Steven Monacelli & Dr. Michael Phillips Elizabeth Dias and Lisa Lerer, The Fall of Roe: The Rise of a New America https://www.amazon.com/Fall-Roe-Rise-New-America-ebook/dp/B0CK72ZGL1/ref=sr_1_1?crid=LT8GCBOTWABV&dib=eyJ2IjoiMSJ9.JQimtOEGy3PsNcHVXC_RzHb4-nla_0uFg_mcpTX1ogL7AlrpV8uIf5LJfxCuazgOHruVfjQvhOd-B27Yyr-vsv6Jz5Rw2iecYpzZ8X1fODwGfubBl94YbczW4lNK_68iuBj2ipBDR9JsmUFKduu54NOSAjT_zA0v4iBiASNqit03Aix2od9liGMi5jliDW7hqtT59N7-A-bQTtkL38pZeRP_lNIji1bosnq7UeWXmNM.NrfQX0Mt4qMsvR3L2hDj0RFB_7GXrOGbbHNFxP_dxm0&dib_tag=se&keywords=Fall+of+Roe&qid=1732370376&s=books&sprefix=fall+of+roe%2Cstripbooks%2C124&sr=1-1 James Mohr, Abortion in America: The Origins and Evolution of National Policy https://www.amazon.com/Abortion-America-Origins-Evolution-National/dp/0195026160/ref=sr_1_1?crid=TR1W25IRTLDR&dib=eyJ2IjoiMSJ9.ZBOxRJsGiXDvGWbf9K1MRx7h7sn4m4_IDKwbohsbDD0.w_NHhzr7kEEWE8yR4B1rh1cuOGR8of66ZlXAvTHzxgM&dib_tag=se&keywords=James+Mohr+Abortion&qid=1732370158&s=books&sprefix=james+mohr+abortion%2Cstripbooks%2C116&sr=1-1 Leslie J. Reagan, When Abortion was a Crime: Women, Medicine, and Law in the United States, 1867- 1973 https://www.amazon.com/When-Abortion-Was-Crime-1867-1973-ebook/dp/B0B8TNX2MW/ref=sr_1_1?crid=2S9JMDTGAJQRN&dib=eyJ2IjoiMSJ9.GVgbRixhq1FpPKRp5yMnMOkGBck7LhL6KpbcZwznkVsd7LzGl_DPfKYBmem066YyaLnnRv1PlQP8Ysr75l695zDs8EZVD-oM42iCfuISV0g.1k8qK_S9Vp5KaliYGNYObwpmoQUvVOmVmxULkBK2JtM&dib_tag=se&keywords=When+Abortion+Was+Illegal&qid=1732370269&s=books&sprefix=when+abortion+was+illegal%2Cstripbooks%2C102&sr=1-1-catcorr James Risen, Wrath of Angels: The American Abortion War https://www.amazon.com/Wrath-Angels-American-Abortion-War/dp/046509273X Anarchism in Gran Columbia feat. Andrew Cappelletti, Angel (2018). Anarchism in Latin America. AK Press. https://theanarchistlibrary.org/library/anselme-bellegarrigue-the-world-s-first-anarchist-manifesto Anarchism in Central America feat. Andrew Cappelletti, Angel. (2018). Anarchism in Latin America. AK Press. See omnystudio.com/listener for privacy information.

Shannon Lynch is the host of the podcast The Alley: DC's 8th and H Case, a detailed look at the 1984 murder of DC resident Catherine Fuller and the eight young Black men who were convicted and sentenced to life in prison for a crime they did not commit. In this episode, Shannon will take us through the crime, the flawed investigation and trial, as well as the suppression of evidence that could have exonerated these men decades ago in hopes that the more their story is heard, the more likely it is that they will be granted a presidential pardon. Get Involved: Donate to the Mid-Atlantic Innocence Project Sign a Letter of Support Listen to 'The Alley: DC's 8th and H Case' from New America wherever you get your podcasts Get tickets to our live show A Massive Seance with You're Wrong About Become a Patron to support our show and get early ad-free episodes and bonus content Or subscribe to American Hysteria on Apple Podcasts Producer and Editor: Miranda Zickler Associate Producer: Riley Swedelius-Smith Hosted by Chelsey Weber-Smith Learn more about your ad choices. Visit megaphone.fm/adchoices