Podcasts about Persepolis

Oakland-based graphic artist Hugh D'Andrade, author of the graphic novel “The Murder Next Door,” talks about: His first graphic novel, The Murder Next Door, including what led him to finally making a graphic novel after being a big fan of them for a long time; studying fine art at the California College of Arts and Crafts back in the 1980s, and then going back to the same school, now called simply California College of the Arts, to get a masters in graphic novels; graphic novelists who have been influential to Hugh, including Adrian Tomine from nearby Berkeley, Chris Ware, who he refers to as both a giant and a genius in the field, as well Art Spiegelman, Thi Bui (whom he had as one of his graphic novel professors), Marjane Satrapi, and Phoebe Glockner; how the graphic novelists he's met have generally been very talkative and have quirky sensibilities, but also have introverted streaks which are necessary for long stretches alone that are necessary for producing their work; how he worked on the beginning of his graphic novel while in grad school, where the crits were very nurturing and supportive, unlike crits from back in the day (undergrad); where graphic novel reading falls in our attention economy; the value he puts on the hand-drawn in comics, with modest digital intervention; and how Vipassana meditation, the first chapter of the book, played a big role in Hugh's healing journey…. [the Conversation continues for another hour in the BONUS episode for Patreon supporters] In the 2nd half of the full conversation (available to Patreon supporters), Hugh talks about: the distinction between cartooning and illustration, and how challenging it is to render a person from multiple views in that style; what feedback he's gotten so far, with at least one reader saying that it was ‘very unique,' probably meaning they found it too dark; the roll his parents played (or didn't play) in healing from his trauma (the murder the book is focused on); his trolling of conspiracy theorists on social media (which is described in the book), which came out of his reaction to people making things up about who was responsible for the murder, along with the pros and cons of engaging with a conspiracy theorist; his description of 3 or 4 major career trajectory paths for artists in big art capitals, inspired by his nephew and students and their impending career paths- the A path/A-train: rock star; B path/B train: you have a partner who has a job/supports you financially;  C path/train: artist with a day job;  D-train: you live just outside of a major city, or in a college town, or rural areas; housing in the U.S., particularly in the art capitals (a sort of passion of both of ours) and how he bought a house in East Oakland, a part of the city he had never been in and he'd been living in the East Bay for decades; how he's in a ‘coffee dessert,' meaning he needs to drive at least 10 minutes to get to a good coffee spot, leading to a beautiful paradox: as a participant in gentrifying his neighborhood, he realizes that as soon as that fancy coffee place pops up in his neighborhood, the gentrification will essentially be complete; the neighborhoods Hugh lived in in San Francisco, particularly the Mission, Hayes Valley and the Tenderloin, and their respective reputations and what he experienced living there as an older young person going to punk shows and the like; his friend Rebecca Solnit's book Hollow City, about how gentrification displaces people of color as well as creative communities; we dig quite a bit into the weeds of the housing crisis, and how he lived on the cheap in the Bay Area for years, including getting around by bike up until 10 years ago; and finally he talks about his music show highlights over the years, including his changing relationship to the Grateful Dead over the decades. 

Pour cette première émission du printemps et des beaux jours qui pointent enfin leur nez, quoi de mieux qu'un thème morbide au possible ? On consacre cette fois-ci une tranche radiophonique à des artistes qui sont passés de l'autre côté du voile, où la gravité relative du sujet fait surtout passerelle vers un hommage à ces personnalités qui auront influencé notre parcours musical. Bonne écoute. Tracklist : Coil - Tattooed Man (The Ape of Naples, 2005) Ryuichi Sakamoto - 20211202 (12, 2023) N Chambers - Loop2 (Seaside Variations, 2023) Pita - S200729 (Get in, 2016) Lynyrd Skynyrd - Free Bird ((pronounced 'lĕh-'nérd 'skin-'nérd), 1973) Nujabes - Peaceland (Metaphorical Music, 2003) MF DOOM feat. Angelika & 4ize - Guinnesses (MM.Food, 2004) Iannis Xenakis - Persepolis #9 (Persepolis, 1972/2018) The Angelic Process - Dying in A-Minor (Weighing Souls With Sand, 2007) Tangerine Dream - Invisible Limits (Stratosfear, 1976) Ø - Heijastuva (Heijastuva, 2011) Photo : Sculpture of a skeleton playing a banjo while sitting on a tombstone, Aliva Sahoo (2023)

In this episode of Global Treasures, we cover Persepolis, located in Iran. This UNESCO world heritage site served as the capital of the Achaemenid Empire. Join us as we discuss the history, travel tips and more. These links will help you plan your trip - Support our affiliates at no extra cost to you! https://plannin.com/en/profile/globaltreasures?refId=globaltreasures Barvita (Get 15% off your order with code ABIGAILVACCA): https://barvita.co/?ref=ABIGAILVACCA 

A rollicking adventure starring three free-spirited Victorians on a twenty-year quest to decipher cuneiform, the oldest writing in the world—from the New York Times bestselling author of The Bad-Ass Librarians of Timbuktu.It was one of history's great vanishing acts.Around 3,400 BCE—as humans were gathering in complex urban settlements—a scribe in the mud-walled city-state of Uruk picked up a reed stylus to press tiny symbols into clay. For three millennia, wedge shape cuneiform script would record the military conquests, scientific discoveries, and epic literature of the great Mesopotamian kingdoms of Sumer, Assyria, and Babylon and of Persia's mighty Achaemenid Empire, along with precious minutiae about everyday life in the cradle of civilization. And then…the meaning of the characters was lost.London, 1857. In an era obsessed with human progress, mysterious palaces emerging from the desert sands had captured the Victorian public's imagination. Yet Europe's best philologists struggled to decipher the bizarre inscriptions excavators were digging up.Enter a swashbuckling archaeologist, a suave British military officer turned diplomat, and a cloistered Irish rector, all vying for glory in a race to decipher this script that would enable them to peek farther back into human history than ever before.From the ruins of Persepolis to lawless outposts of the crumbling Ottoman Empire, The Mesopotamian Riddle whisks you on a wild adventure through the golden age of archaeology in an epic quest to understand our past.Joshua Hammer is a veteran foreign and war correspondent for Newsweek who has covered conflicts on four continents. He is the author of two previous books, A Season in Bethlehem and Chosen by God: A Brother's Journey. He has contributed articles to The New Yorker, Smithsonian, and many other publications. He lives in Cape Town, South Africa, with his wife and two sons.Become a supporter of this podcast: https://www.spreaker.com/podcast/earth-ancients--2790919/support.

Description Returning guest Rachel Armstrong joins Joe to discuss the classic graphic novel Persepolis. Created by Marjane Satrapi, this autobiographical graphic novel tells the story of her life in Iran after the Islamic Revolution. Persepolis is told in two parts, … Continue reading →

Europese leiders besloten om miljarden extra te investeren in defensie. Maar wat koopt Oekraïne daarvoor? En in hoeverre wordt het Amerika van Trump in Brussel nog gezien als een bondgenoot?  Annette ontvangt Kysia Hekster, Europa-correspondent voor de NOS, die bij de EU-top was.   Tips en verwijzingen uit deze aflevering:  - Kysia tipt ‘Over tirannie' van Timothy Snyder  - de geïllustreerde versiehttps://libris.nl/a/timothy-sn... Chef redactie Freek tipt Persepolis van Marjane Satrapi https://www.bol.com/be/nl/p/pe... - Annette van Soest is host van Café Europa en presentator voor o.a. Haagsch College en Follow the Money - Kysia Hekster is Europa-correspondent voor de NOS en oa voormalig correspondent in Moskou De podcast Café Europa is een initiatief van Haagsch College en Studio Europa Maastricht Deze podcast wordt mede mogelijk gemaakt door Nieuwspoort.

Spennuþættirnir Day of the Jackal með Eddie Redmayne í aðalhlutverki njóta nokkurra vinsælda um þessar mundir. Brynja Hjálmsdóttir rýnir í þættina og hefur sterkar skoðanir. Við höldum áfram að velta fyrir okkur risum hafsins, hvölum. Að þessu sinni heyrum við í Ingibjörgu Ýr Skarphéðinsdóttur, tónskáldi, sem hefur unnið tónverk innblásið af hljóðum hvölum. Íranska myndasagan Persepolis kom út í íslenskri þýðingu nú í haust. Lóa ræðir við Kjartan Orra Þórisson Íranssérfræðing um þessa mögnuðu myndasögu.

Subscriber-only episodeSubscriber-Only EpisodeNew year, new watchlist! Bella and Nick are back with six standout movie recommendations from their January viewing, covering everything from surreal David Lynch shorts to rare film noir gems.This month's lineup includes Six Men Getting Sick, Persepolis, Wake in Fright, Dìdi, The Web, and The Daytrippers.Have you seen any of these? Let us know your thoughts—and send us your top three films from January!❗️SEND US A TEXT MESSAGE ❗️Sign up for our Patreon for exclusive Bonus Content.Follow the podcast on Instagram @gimmethreepodcastYou can keep up with Bella on Instagram @portraitofacinephile or Letterboxd You can keep up with Nick: on Instagram @nicholasybarra, on Twitter (X) @nicholaspybarra, or on LetterboxdShout out to contributor and producer Sonja Mereu. A special thanks to Anselm Kennedy for creating Gimme Three's theme music. And another special thanks to Zoe Baumann for creating our exceptional cover art.

Comix is a distinct art form—sequential art—that expresses ideas with multiple images, most often combined with text. It's a hybrid (think co-mix) and, importantly, it's a medium not a genre—don't confuse the two in the presence of a comix creator or you might get your head bit off (for a real-life dramatization, see the opening of To Teach: the journey in comics). Comics aren't just for kids anymore, and the medium has been creatively deployed to communicate non-comedic content—see Maus or Persepolis or Fun Home. They've taken over the world in this golden comix age, and you can find them everywhere—classrooms, special sections in bookstores and libraries, and, yes, still hidden in that secret drawer in the closet—and still the medium retains a sense of its insurgent origins. The word “comix” (or “comics”) is a “non-count noun” like “politics” or “economics” referring to the medium itself. We're joined by two old friends in conversation about comix and the world—Eve Ewing, poet, playwright, scholar, teacher, author of the Ironheart series for Marvel comics, and the first Black female author of the Black Panther series; and Ryan Alexander-Tanner (www.ohyesverynice.com), illustrator/comics artist and educator, co-author of To Teach: the journey in comics, and author and artist of Muhammad Ali: The Greatest Comics Biography of All Time Volume One: Cassius Clay.

L'émission 28 minutes du 18/01/2025 Ce samedi, Renaud Dély décrypte l’actualité avec le regard international de nos clubistes : Kéthévane Gorjestani, chroniqueuse internationale à France 24 ; Zyad Limam, directeur et rédacteur en chef d’“Afrique Magazine” ; Aysegul Sert, journaliste turco-américaine et professeure à l’école de journalisme de Sciences Po et le dessinateur de presse Patrick Chappatte. Trêve au Proche-Orient : la diplomatie Trump, ça marche ? Un accord sur un cessez-le-feu dans la bande de Gaza et la libération des otages a été conclu, sous l’égide des États-Unis et du Qatar, après plus de 15 mois de guerre. Sa mise en œuvre doit se faire en trois étapes à partir du 19 janvier. Pour le moment, le cabinet de sécurité israélien ne l’a pas encore approuvé. Cette annonce intervient à quelques jours de l’investiture de Donald Trump qui s’attribue ce succès. “Il a indiqué au monde entier que mon administration recherchait la paix et négocierait des accords pour garantir la sécurité de tous les Américains et de nos alliés”, a-t-il écrit sur son réseau social Truth Social. Mais qu’en est-il réellement ? Est-ce une victoire diplomatique personnelle ?  Investiture américaine : le triomphe de “l’internationale trumpiste” ? L’image fera le tour du monde lundi, lors de l'investiture officielle de Donald Trump, celle des invités à l’événement : Javier Milei, Giorgia Meloni, Viktor Orban… Tous des dirigeants “Trump”, à leur manière, dans leurs pays respectifs, mais aussi tant d’alliés pour le futur président américain qu’il n’avait pas en 2016. La victoire de Joe Biden après le précédent mandat de Donald Trump semblait confirmer qu’il n’était qu’une parenthèse dans l’histoire politique, mais ne serait-ce pas l’inverse ?  Nous recevons la réalisatrice de documentaires Jeanne Burel dont la série “Britney sans filtre” est diffusée sur arte depuis le 15 janvier. Elle retrace l’histoire de la princesse de la pop, de ses débuts dans la machine Disney au phénomène mondial qu’elle est devenue. Jeanne Burel interroge l’empire du divertissement qui a vu grandir Britney Spears et a façonné toute une génération de jeunes femmes.  Valérie Brochard se rend chez nos chers voisins danois et plus particulièrement du côté du Danemark. Les ambitions expansionnistes de Donald Trump ont ressuscité le débat sur l’indépendance de ce territoire, qui est maintenant plus probable que jamais. Le gouvernement du Danemark assure ne pas vouloir s’y opposer.  Olivier Boucreux décerne le prix d’employée de la semaine à l’artiste franco-iranienne Marjane Satrapi. Celle qui s’est fait mondialement connaître avec la bande dessinée et le film “Persepolis” a annoncé le 13 janvier “décliner” la Légion d’honneur, disant ne pas comprendre “la politique de la France vis-à-vis de l’Iran”.  Jean-Mathieu Pernin zappe sur la télé sud-coréenne qui documente l’arrestation du président suspendu. Yoon Suk Yeol s’est rendu, un mois après avoir essayé d’appliquer la loi martiale dans le pays, pour éviter un “bain de sang”.  Paola Puerari s’intéresse à Bryan Johnson, ce milliardaire américain qui fait tout pour vivre le plus longtemps possible, mais surtout pour garder une jeunesse éternelle.  Enfin, ne manquez pas la question très intéressante de David Castello-Lopes : pourquoi n’y a-t-il toujours pas de jetpacks ?  28 minutes est le magazine d’actualité d’ARTE, présenté par Élisabeth Quin du lundi au jeudi à 20h05. Renaud Dély est aux commandes de l'émission le vendredi et le samedi. Ce podcast est coproduit par KM et ARTE Radio. Enregistrement 18 janvier 2025 Présentation Renaud Dély Production KM, ARTE Radio

In this episode of The Compendium, we explore the Billion-Dollar Banquet, the Shah of Iran's lavish event that celebrated the 2,500th anniversary of the Persian Empire. Dive into the opulence of the world's most expensive party, hosted in Persepolis, and uncover how this extravagant display of power contributed to the downfall of Shah Mohammad Reza Pahlavi and ignited the Iranian Revolution.We give you The Compendium, but if you want more, then check out these great resources:The Shah of Iran - Documentary narrated by Orson Welles.Persepolis: The History and Legacy of the Ancient Persian Empire's Capital CityBarbara Walters' Interview with the Shah - YoutubeDecadence and Downfall In Iran: - YoutubeMessage Kyle and AdamConnect with Us:

Tonight we turn our attentions to “The Expanse” book series with book seven, Perselopis Rising. We hope you have been following along! What to expect from episode 154: After Dark Special: Persepolis Rising? Briefing The Fire Caves After Dark: Per…

2024 has come and gone. Leah and Leah are together for the first TMBDOS! of 2025 to talk about their best and worst first-time watches during the past year. Lee also has some honourable mentions to get through as well. Of note, this episode was recorded during a live stream, so there's some brief moments where the hosts are interacting with the chat as well. It made for a long but fun show! Lee's Honourable Mentions: 6. "Strange Darling" (2023) 5. "The Beach Bum" (2019) 4. "Sonny Boy" (1989) 3. "Infested" (2023) 2. "Run and Kill" (1993) 1. "Enter the Clones of Bruce" (2023) Leah's Best-of: 10. "Safe" (2012) 9. "Deadpool and Wolverine" (2024) 8. "Carry-On" (2024) 7. "Dungeons & Dragons: Honor Among Thieves" (2023) 6. "The Passion of Joan of Arc" (1928) 5. "Alien" (1979) 4. "Wait Until Dark" (1967) 3. "Persepolis" (2007) 2. "Last Night in Soho" (2021) 1. "Wicked" (2024) Lee's Best-of: 10. "Love Lies Bleeding" (2024) 9. "Day of the Cobra" (1980) 8. "A Haunted Turkish Bathhouse" (1975) 7. "Targets" (1968) 6. "Wolf Guy" (1975) 5. "Wait Until Dark" (1967) 4. "Ace in the Hole" (1951) 3. "Persepolis" (2007) 2. "Exhuma" (2024) 1. "I Saw the TV Glow" (2024) Leah's Worst-of: 9. "The Misfits" (2021) 8. "My Big Fat Greek Wedding 3" (2023) 7. "Red One" (2024) 6. "Hard Target 2" (2016) 5. "The Babysitters" (2007) 4. "Something Borrowed" (2011) 3. "Beetlejuice Beetlejuice" (2024) 2. "Marry Me" (2022) 1. "Solomon Kane" (2009) Lee's Worst-of: 9. "The Sea Serpent" (1985) 8. "The Swamp of the Ravens" (1974) 7. "Renfield" (2023) 6. "Evils of the Night" (1985) 5. "America 3000" (1986) 4. "Snake Eater II: The Drug Buster" (1989) 3. "Joker: Folie à Deux" (2024) 2. "Terrifier 2" (2022) 1. "Terrifier" (2016) Featured Music: Excerpts from "Gonna Fly Now" by Bill Conti; "Tell Me Something Good" by Chaka Khan & Rufus; & "You're the Best" by Joe Esposito. "The Silent Screen" & "At the Movies" by Hot Butter, and "In the Year 2525 (Exordium & Terminus)" by Zager & Evans.

Rachel Kousser, professor of Classics and Art History at the City University of New York and author of Alexander at the End of the World, joins the show to talk about the violent, brilliant, complex career of Alexander the Great. ▪️ Times      •      01:27 Introduction     •      01:59 Early years and conquest     •      05:45 Pragmatic opportunist       •     09:20 Persepolis burning        •      11:48 Darius      •      14:36 Alexander in the field      •      19:30 Understanding the geography       •      25:56 Dreamer      •      29:50 “A war of choice…”     •      32:57 Building something new      •      34:36 Breaking point       •      38:00 King with consent      •      41:48 Harnessing strength Follow along on Instagram or YouTube @SchoolofWarPodcast Find a transcript of today's episode on our School of War Substack

The Shop is bursting at the seams here at Christmas-time, but Hannah and Sam haven't stopped reading! With their favorites of the year behind them, they look to the past and future for new things to consume (such as "Minority Report" and "The Dream Hotel"). But you'll have to wait for the full discussion on that. On the full agenda this episode is: - "Age of Innocence," by Edith Wharton - "The Quiet American," by Graham Greene (from 1955, NOT the 1970s, Sam) - "Rental House," by Weike Wang - "The Ladies of Grace Adieu," by Susanna Clarke - "What the Chicken Knows," by Sy Montgomery (much giggling ensues) - "Persepolis," by Marjane Satrapi - "What Happened to the McCrays," by Tracey Lange (with much middle school hockey discussion) - "The Last Dragon on Mars," by Scott Reintgen

The great conflict that we know today as the Greco-Persian Wars between a few independent city-states of ancient Greece and mighty Achaemenid Persian Empire is, in my opinion, one of the most fascinating and consequential in all of history.  More than just battles for territory and glory - they were clashes of culture, ideology, and power between East and West. The war saw legendary figures such as Leonides, The Great King Xerxes, Themistocles, Darius the Great, Miltiades, Mardonius, Artemisia, Kleomenes, and countless others in action.  Since most accounts of the conflict available to us come from Greek and Roman historians and writers of antiquity such as Herodotus, Plutarch, Diodorus Siculus, Aeschylus, the traveler Pausanias, Justin and others, our modern perspective is often shaped by their portrayal of a struggle between the freedom-loving Greeks and the tyrannical rulers of Achaemenid Persia—a narrative further popularized by films like 300.  However, as we will explore, the reality was far more complex.  Drawing on historical sources and the latest archaeological research, this series will explore everything from the causes of the conflict to its key figures, the various phases of the war, and its aftermath. This is the first of a series of 5 or 6 podcasts that will be released over the next few months.  Stay tuned for future episodes.  Contents:00:00  Rise of Cyrus the Great and the Persian Achaemenid Empire05:27 Ionians and Greeks in the Persian Empire14:29 A bit about Herodotus16:49 Trouble in Athens23:52 Earth and Water 28:04 Sparta (almost) Attacks!36:25 Aristagoras' Plan44:21 The Ionian Revolt49:10 The Battle of Lade50:09 Aftermath57:10 Thank You and PatronsSpecial thanks to Farya Faraji for the following musical compositions featured throughout the program: "Spantodhata's Warning""To Phrygia""In Pythagoras' Mind""The Apadana's Shadows""Immortals""Mater""In Sappho's Mind""Spring in Persepolis""Aíma""Apranik's Charge""March of Achaemenes""Hyrcanian Lullaby"Check out more of his work that spans across many countries, cultures and time periods: https://www.youtube.com/@faryafarajiYou can also find them on the albums:*Songs of Old Iran Vols. I & II**Voices of the Ancients Vols. I & II* Additional Music:Epidemic Sound"Genie's Bane""Interstate 895""One with the Tribe""Pepper Seeds""Keeping up with the Tarahumaras""Blood in Water""The Golden Spiral""The Sewers""Deer Hunt""Zero Remorse"Support the show

In this One Shot episode of Moving Panels, Laramy and Bethany explore the powerful intersection of real-world events and the comic book medium. Building on their recent deep dive into Persepolis, they shift focus to They Called Us Enemy, George Takei's poignant account of Japanese-American internment during World War II; Maus, Art Spiegelman's Pulitzer Prize-winning depiction of the Holocaust; and March, Congressman John Lewis's stirring graphic memoir of the Civil Rights Movement. Join us as we examine how these works use the art of comics to illuminate history, inspire change, and connect with readers on a deeply human level. --- Support this podcast: https://podcasters.spotify.com/pod/show/movingpanels/support

Join Laramy and his wife, Bethany, on this episode of Moving Panels as they dive into Persepolis, the acclaimed graphic novel and its animated film adaptation. Together, they explore the poignant and personal story of Marjane Satrapi, set against the backdrop of the Iranian Revolution. From its powerful themes to its striking visuals, they discuss how the film brings the autobiographical comic to life. Whether you're new to Persepolis or a longtime fan, this episode offers a heartfelt look at one of the most important graphic novel adaptations in history. --- Support this podcast: https://podcasters.spotify.com/pod/show/movingpanels/support

C dans l'air l'invitée du 4 novembre : Marjane Satrapi, auteure et cinéaste franco-iranienne. Elle a dirigé le roman graphique Femme, Vie, Liberté, aux éditions L'Iconoclaste, du nom du mouvement de révolte formé en 2022 suite à la mort de Mahsa Amini, jeune femme arrêtée et tuée en Iran pour ne pas avoir respecté le code vestimentaire.Samedi dernier, une étudiante iranienne, Ahou Daryaei, a été arrêtée à l'université Azad de Téhéran. Après avoir été interpellée pour un voile mal porté, elle s'est dévêtue et a marché en sous-vêtements, cheveux lâchés, en signe de protestation. La scène a été filmée, et la vidéo a été énormément partagée tout le week-end. Depuis, les ONG réclament sa libération. Amnesty Iran parle sur X d'"allégations de coups et de violence sexuelle à son encontre pendant son arrestation".Cette image impressionnante d'une jeune femme dévêtue devant l'université, à Téhéran, a suscité de nombreuses réactions. Dans un contexte où la répression contre la population iranienne est sans cesse plus violente. D'après Iran Human Rights, 551 personnes sont mortes lors des manifesttaions en soutien à Mahsa Amini et au mouvement "Femme, Vie, Liberté". Des milliers de personnes ont également été arrêtées.Marjane Satrapi, auteure et cinéaste, très célèbre pour ses bandes dessinées, notamment "Poulet aux prunes", et "Persepolis", adaptée au cinéma et primée à Cannes et aux César. Soutien au mouvement "Femme, Vie, Liberté", elle reviendra sur cette vidéo symbolique d'une jeune femme qui ose se dévêtir en signe de protestation, et sur sa portée. "Un Moyen-Orient démocratique, c'est une garantie de sécurité pour le monde", affirme Marjane Satrapi. "Ce mouvement féministe pour une république laïque doit être davantage soutenu, on doit saisir cette opportunité", demande-t-elle a propos du mouvement "Femme, Vie, Liberté".

Matt and Jay are back and we catch with with car trouble.  We also hit a bunch of news from the last few weeks: Henry Cavill in Voltron for Amazon Venom Smallville Animated Krypto's DCU First Appearance Agatha All Along Calvin and Hobbs Aaron Pierre as John Stewart; rumors of middle aged Batman Scrubs reboot with new and old cast Bourn Dilemma directed by Edward Berger (All Quiet on the Western Front), no word on Damon AEW on Max and other wrestling tidbits We finish with a ton of homework, including Civil War, The Fall Guy, Eight Billion Genies, Persepolis, 3 Floyd's: Alpha King, Frogcatcher, The Cull, The Shining, Salems Lot, The Good Neighbor, Fright Night, Cutting Class, Halloween 3, Night of the Living Dead 3, Wrong Turn, Pathology, 30 Days of Night, Happy Death Day, Scream, Hideout, Wolf Creek, Daybreakers, Child's Play, Abandon, Mr Harrigans Phone, and 4 Kids Walk Into A Bank. This week's beer is Earthbound Beer's Earthbound Red. The featured song is "Serious Medical Condition" by the Eradicats.  You can find them at: Instagram | Linktree Check us out at our website and on social media.

We feel abandoned by Robot Dreams and also talk David Cronenberg's Dead Ringers, I Saw the TV Glow, Speak No Evil, Persepolis, Eyes of Fire, Afraid, Rebel Ridge and The Deliverance. Follow the show on X: @thecinemaspeak Follow the show on Instagram: cinemaspeakpodcast Subscribe on Youtube: Cinema Speak Intro: 0:00 - 5:59 Review - Robot Dreams: 5:59 - 39:24 Movie Roulette - Dead Ringers: 39:24 - 1:02:34 Micro-Reviews - Speak No Evil (2024), I Saw the TV Glow, Afraid, Persepolis, The Deliverance, Rebel Ridge, Alien: Romulus, Eyes of Fire, Leptirica, Zero Dark Thirty, Friday the 13th, Manhunter: 1:02:34 - 1:58:21 This week in new releases/Outro: 1:58:21 - 2:03:50

Dallas, Anne, and Alexis sit down to discuss Marjane Satrapi's masterpiece --- Support this podcast: https://podcasters.spotify.com/pod/show/thecomicscollective/support

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Host Miko Lee speaks with playwright Naomi Iizuka and graphic novelist/activist Eddie Ahn.   For more information about the show's guests:   the MAGIC THEATRE and PLAY ON SHAKESPEARE present: Richard II A new translated version by NAOMI IIZUKA from William Shakespeare August 21 -September 8, 2024 Tickets available here. Eddie Ahns Advocate SHOW 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.   Miko: [00:00:34] Good evening. Welcome to Apex Express. This is your host, Miko Lee. And tonight we're going to talk about retelling stories. So join us as you hop along the Apex Express. Welcome one and all to Apex Express. This is your host, Miko Lee. And tonight we're talking about retelling stories. I had the opportunity to speak to two artists. One is the playwright, Naomi Iizuka and the second is the activist artists graphic novelist Eddie Ahn. So first up, take a listen to my interview with playwright, Naomi Iizuka. Before we recorded the interview, I actually had a chance to talk with Naomi and we worked together many moons ago. We actually were calculating based on our children's ages. We work together in theater at Berkeley rep. And it is amazing to see Naomi retelling, so many stories in so many different cultures and genres. And here we talk about her experience rewriting Richard II which I had a chance to see at the magic theater. It has some absolutely amazing production values, and I encourage you all to go check it out. We'll put a link to the show in our show notes. So check out my interview with Naomi Iizuka. Welcome Naomi Iizuka to Apex Express. We're so excited to have the award winning playwright whose adaptation of Richard II opens at the Magic Theatre August 23rd and runs through September 8th. Welcome Naomi.   Naomi Iizuka: [00:02:30] Oh, thank you so much. I'm so happy to be here and so honored.   Miko Lee: [00:02:34] Well, we're honored to have you. I want to start with my big question, which I adapted from the amazing poet Chinaka Hodges, which is who are your people and where do you come from?   Naomi Iizuka: [00:02:46] That's a beautiful question. I think that my people are adventurous and iconoclastic, and that means that they come from many different places, geographically and also spiritually and artistically. I definitely feel an affinity for the Bay Area. it was the first place I really. Came to in my sort of adult life and I feel a great affinity for theater people and theater artists. we are, I think, a community of artists that come from, you know, all sorts of traditions and we make this evanescent event. And I think there's something really beautiful in that.   Miko Lee: [00:03:31] Ooh, evanescent event. I really like that. That sounds so pretty. I'm wondering what legacy you carry with you from your people.   Naomi Iizuka: [00:03:40] I think, an awareness of history, an awareness of Mystery sort of just beyond your peripheral vision that there are stories that haven't been told that there are tremors and voices just underneath the surface of the every day And a real curiosity about that, and I think that that cuts across a lot of, people in my life who actually are not only in theater, you know, people who are, attorneys and in academia and scientists. I mean, just, I think, I think it's, a kind of an adventurous, um, curiosity. I think that that is what I've inherited.   Miko Lee: [00:04:18] Oh, thank you for sharing that. I'm wondering if that lends itself to the fact that you've adapted a number of classics. We're going to be talking about Richard III, but I know you also did a version of Hamlet that was set in Oakland, Orpheus, and the Odyssey, and Japanese folktales. Can you talk a little bit about what sparks your curiosity around adaptations?   Naomi Iizuka: [00:04:40] That's a great question. I think that adaptations at their best are conversations with ghosts. And I guess I really enjoy that. I enjoy this idea of, in some way being in conversation with. Consciousnesses that are not maybe here on this plane of existence anymore, but have left their thoughts and their, big questions, they've sort of embedded them in these works of art. And so when you adapt Shakespeare or you adapt a Japanese folktale, I feel like you're in conversation with These ghosts and they're wise and they're playful and they're mysterious and they're, challenging. And I, I love that. I love that experience.   Miko Lee: [00:05:25] Aside from the adaptations, have you had personal experiences with ghosts?   Naomi Iizuka: [00:05:30] Oh, wow. I would say yes. but I, I, I maybe not. That's something maybe I don't want to talk about.   Miko Lee: [00:05:39] No worries. I always love to hear. I have had experience with ghosts. So I always love to hear other people's ghost stories. I get it. If you don't want to talk about that's okay. Can you talk with me about this adaptation of Richard II? And I'm wondering how you got involved in this adaptation?   Naomi Iizuka: [00:05:59] Well, it's a commission. So I was asked to adapt or really translate is the word that I think is more accurate, a Shakespeare play. And it, it's a project called, play on where a bunch of contemporary writers were asked to translate Shakespeare. What that means is that we were really asked to do a deep dive into the original texts. I'm going to say plural because I think there are different versions even, and figure out the most muscular, vivid version of Shakespeare. Of Shakespeare that we could figure out for contemporary audiences. So it's less about putting our own spin on something. It's really about really wrestling with that material and finding this muscular Present day version of the material that is true to the original, and that brings to light the original and what sort of underneath the surface, you know, for contemporary audiences.   Miko Lee: [00:07:03] And since Richard II is about power and corruption, and we're in this election season, we just are in the midst of the Democratic Convention, I'm wondering if you see parallels with Richard II and what's happening now in our political realm.   Naomi Iizuka: [00:07:18] I do. I mean, and it's interesting because I think that even though this play is centuries old, it does very much speak to the present moment where you have really different ideas about what is the right direction for a country and for a government and what it means to govern. And I think that I cannot think of more timely questions. And also candidly, this sort of anxiety, that's, I think, an anxiety that we all feel in this moment where there are really You know, strong differences and and we've had some really, difficult divisions in our country and in within our own families. And I, and that is so, so much at play in Richard II. There's, these arguments that people have they're life and death and they're within families and they're within, you know, they're within countries and how they are resolved really changes the trajectory of the future. So yes, 100 percent it's so timely. It's, it's unbelievably timely.   Miko Lee: [00:08:24] And you've done a lot of works that are around, of adaptations, we talked about you doing those, but also you've done a lot of works that are around really intense issues from sexual assault and good kids and refugees and anonymous and unhoused youth and Polaroid stories. What draws you to storytelling? What draws you to the specific stories that you have been telling?   Naomi Iizuka: [00:08:48] I think that there is an answer to that question that is both conscious and aware and unconscious and more subterranean. So what's probably the most truthful answer is, I don't know, there is a kind of curiosity and hunger that I think I've had. I know I've had for my whole life, my whole life that I can remember where I want to know what the story is. I want to, you know, I see a person and I want to know where they came from. you know that, that excitement that I, I suspect many of us feel when you go into a library and you see all those books and you think, what are the stories? So that's the more sort of subterranean, um, sort visceral, impetus for storytelling. I think as I've gotten older and I've thought about it and I've become a teacher, I think that storytelling is incredibly powerful. And I think that how you tell stories and who gets to tell stories is so powerful. And I, and I think I'm perhaps stating the obvious, but I think it's something that I remind myself of on a regular basis. And so. My desire to tell stories that, maybe aren't told or aren't told in a way that is familiar is really deep. I, I think that that's perhaps maybe the most meaningful way that at least I can move through the world and the, and the writers and artists that are around me, the storytellers, dancers as well, and choreographers. I, I, think they share that, this sense that who tells the story and how you tell it. It matters a lot.   Miko Lee: [00:10:20] And so much of this work is really powerful and is really trying to hit at sometimes hidden histories, stories that we don't hear as often. I'm wondering if you think of yourself as an activist.   Naomi Iizuka: [00:10:33] You know, I haven't In all honesty, I don't, but I think I am, I think I am because I feel really acutely, certain things that must be said, and I think I'm realizing that the act of saying them and saying them you know, over time is actually an activist posture, you know, that you, have an engagement with the world that doesn't slacken that, continues over time and you stand your ground. And I think that if that can be something that, I can contribute in some small way. I will feel that there's some meaning to what it is I do.   Miko Lee: [00:11:14]And I'm wondering, because you've done genres, many different genres, from writing for TV, and then also stage, and writing for children's theater and adult theater, I'm wondering if, how each of those play into your writing process. Do you write differently when you write for TV versus stage? Do you put on a different hat to get into character so that you could do that? Do you write differently for children's work? I also see some of your children's theater pieces as being like really around intense issues. So I'm just wondering about how you blend those and if you kind of divide up parts of yourself or what is your approach to writing in these different genres?   Naomi Iizuka: [00:11:51] I think it's a great question. I always start, maybe not always, but I think 99 percent of the time I start with character because I think that when you start with character, you start with humans. And when you start with humans, you start with mystery. And I think that that to me feels like the most exciting starting point, whether you're writing a play for young audiences, or whether you're writing, a translation of a Shakespeare play, or whether you're writing something for television. So I think that's a common thread, starting with the human mystery inside of a life, inside of an individual, inside of their circumstances. that's, I think, the starting point always.   Miko Lee: [00:12:33] And you've been collaborating with Campo Santo and John and now the magic for so many years. Can you talk a little bit about the benefits and or challenges of long term collaboration?   Naomi Iizuka: [00:12:44] Think long term collaboration is perhaps one of the greatest gifts that an artist can be afforded because it means that you have a home and sort of looping back to an earlier question of yours, you have a tribe of people, a community of people that you're connected to and, and you have a shared, responsibility to the storytelling. And that, As I get older, feels so, it feels rare and it feels really precious because I mean, when I work with Camposanto, I just, you know, now I, and I've, you know, talking with Margo or Sean and Catherine Castellanos, I've known them for such a long time and I've watched them work and I've been in awe of their work and they, there's a way that we connect through the work that is, deeper than, than the surface layer, that you're able to sort of plumb depths that you sometimes can't when you're, just starting out working with someone, you know, and they may be a wonderful artist, but you just don't have those years of, knowledge and, trust.   Miko Lee: [00:13:57] Yeah, so many layers that you can rely on and that trust and the connection. Um, I guess they're kind of the family when we were talking in the very beginning, your tribe of people, the theater people.   Naomi Iizuka: [00:14:09] They are very much my tribe of people. I mean, I, I love them and it has felt like coming home, you know, to, to work with them.   Miko Lee: [00:14:16] Yay. I'm wondering if your ethnic tribe growing up in multiple parts, you know, being born in Japan and Indonesia and U. S. and being mixed race, Japanese Latin American, how does that impact your creative process?   Naomi Iizuka: [00:14:33] You know, I think I'm still answering that question. I think one thing that is really heartening is when I was younger, I felt very much like, oh, I don't fit into any box. And there aren't that many people like me that are, you know, multi ethnic and multi racial. And, as I've gotten older now, and I look at, for example, my son's generation, I'm like, that is now, I don't know if it's the norm, but in California, there's, so many people who are, mixed in and the mixtures are, you know, they run the gamut and I think in terms of my own work, maybe what that led to early on was an awareness that. the reality of lived existence for most people is complicated and not easily paraphrasable, and I think that that bred in me a certain humility and also a certain, there's a certain challenge there, you know, like, how do I, How do I evoke the truth of this really complicated reality that is not just my own reality, but, so many of us, right? we're not one thing. We're, we're many things, some of which are not always visible or some of which are in some ways hidden.   Miko Lee: [00:15:46] Have you ever written a play that's a Japanese Latin American play?   Naomi Iizuka: [00:15:51] not explicitly, no. I mean, I think a lot of the plays that I've written, they, they are, I would say, flexible in terms of their casting and in terms of their point of view.And I think that they invite, they invite that kind of collision. But specifically, no.   Miko Lee: [00:16:12] Well, I would be so curious to see your take on, like, the Japanese Latin American kidnapping and incarceration of that whole community. Yeah, there's so many stories that have not been told about the JLA community.   Naomi Iizuka: [00:16:26] So many, yep.   Miko Lee: [00:16:28] I'm wondering if there is a story that you grew up with that you remember your family telling you that's helped to frame your creative process?   Naomi Iizuka: [00:16:36] Oh, wow. That is a really great question. my maternal grandmother, was a, kind of a mysterious woman. And I, I wondered a lot about her and I think there were a lot of secrets in her past. I think she is somebody it's actually less about the stories that were told and more about the questions that not only I had about her, but my mother had about her, my uncle had about her, that we just never fully found out. We, you know, we discovered when she was well into her seventies that she was blind in one eye. She never learned to read or write and it was a little bit unclear. Estranged, I guess, from her family of origin. yeah, it just, there's so many questions about her. I think the other story from my father's side of the family, from the Japanese side of the family, which I have written about, actually, because my father told the story, from when I was, for as long as I can remember, my father was a, was a very young child in World War II and he was Japanese national and he, and he was in Tokyo with his family and their house was bombed. And my father was not in the house. He was supposed to have been in the house, but he, Kind of, he was very little. He was, I think he was like five or six, and he had wandered away. My father, kind of, the moral of the story for my father was always like, you know, don't do what people tell you, because if you do, something bad may happen. So he didn't do what he was supposed to do. He didn't stay put. He wandered away. And, and he, as a result, he survived, you know, and, think That was a story that I, I still think about. and I, if you knew my father, it would make a lot of sense because he has this really, um, very, defiant is not the quite the right word, but he really knew who he was and he wasn't going to sort of take it from anyone. He was just going to, you know, do it his way. and that story felt very much, you know, the origin story of that personality.   Miko Lee: [00:18:35] So he had encouraged you to be a rebel, to kind of be who you are.   Naomi Iizuka: [00:18:40] A little bit. But you know what's so funny is I, you know, growing up, I was not like my father. You know, my father was, you know, he would, he told many stories. I'm not gonna, I can't tell you all of them, but you know, he was kind of a naughty kid growing up and, and he got in trouble, you know, he was, you know, and, and I was not that way. I was the opposite. I was a really, you know, very obedient, good student. Actually, in a strange way, my father, I think had the last laugh because I did turn out to be in my life choices, I think rather rebellious, but that wasn't nobody's meeting me as a, you know, as a teenager or a child would have thought that they would have thought, Oh, you know, what a well behaved, polite, you know, good student and then I turned out to have a kind of a very different trajectory. It's interesting.   Miko Lee: [00:19:24] What's the first play you ever wrote? How old were you? And what was it?   Naomi Iizuka: [00:19:28] I think the very first play I wrote was this very strange play. I was, a senior in college and it was called Betty Ford and the Dream Commandos. I think I have only a copy that's paper because I wrote it on a typewriter. That's how old I am. And I, I, it was a really expressionistic, strange piece that was that they did site specifically, it was short. I think it was maybe a 20 minute play. And I honestly don't remember the story of it. I remember fragmentary moments of it. I remember there was a chorus of dream commandos that were sort of like sort of ninja like and there was a Betty Ford character who was kind of in a haze. Yeah.   Miko Lee: [00:20:12] That is so wacky. Why Betty Ford?   Naomi Iizuka: [00:20:16] God knows. I don't know. I mean, I   Miko Lee: [00:20:18] Betty Ford as like First Lady Betty Ford or Betty Ford as in running the rehab center?   Naomi Iizuka: [00:20:24] Well, I mean, it was the same person and I think you put your finger on it, which is that I This was a woman that I think I, as a young person, I remember watching her on television and thinking, and this was before the sort of drug rehabilitation part of her life. I just thinking like, she has a hard life. She seems, you know, she's smiling, but I, I think behind that smile, well, again, it gets to that human mystery. I, I guess I was curious about her. She seemed like somebody that, Had this persona and had this sort of public facing, way about her, but that there was a lot of sort of still waters run deep about her too. So I think, I think that that was, that made me curious, you know?   Miko Lee: [00:21:07] Oh, I would love to have a reading with playwrights reading their first plays. That would be so fun.   Naomi Iizuka: [00:21:13] That'd probably a little sad. Scary.   Miko Lee: [00:21:17] I, there's a beautiful exhibit art exhibit where they had children's book authors. The, um, this was a museum of children's art did it and they had their work now beside a work they created when they were a kid and in framed and it was so gorgeous because. Everyone really showed that even when they were like five years old, they were already creating their style. So Naomi Iizuka: [00:21:40] That's fascinating. Yeah.   Miko Lee: [00:21:41] So I just love, I would love to see playwrights that from playwrights. Anyways. I'm wondering if you can talk about your daily creative process, like what do you do? I mean, I, I talked to Isabel Allende about this and she said, every morning I get up, I get a cup of tea, I make myself go into this room and I write, even if it's painful. Yeah. And even if it's bad, I'm wondering if you have like a set schedule or how do you do it?   Naomi Iizuka: [00:22:06] I don't have a set schedule. Mainly, I, I wish I, I did, and I may be able to now in my life, but I think for many years just juggling a day job. And, and I, and I still have, you know, I teach and I, I write for television and so it's, it's a little hectic. and I was a single mom. But now my son is in college, I just actually dropped him off. So I think I will have my schedule be a little different. What I do, which is I think related to what you just described, is I make sure that I write every day, but it's not always at the same time. So sometimes if I have the luxury of, a day where I, don't have to be somewhere at 8am, I will write in the morning. And I do like very much sort of waking up, brewing a cup of coffee and, writing. But I also write, you know, late at night. In fact, I was, you know, just dropping my son off at college and, he was asleep. And, I was sort of in a different part of in the Airbnb where we were staying. And I, Just wrote, you know, so I was like, as long as I'm writing a certain amount of time or certain number of pages a day. But I also agree with what you described in Isabella and his process that it's really important to write even when you don't feel like it. And I tell my students that all the time, because, you know, if you just wait till you feel like it, then you know, you may not write very much. So you have to write even when you don't feel like it. And even when it feels like the writing is hard, or it's not what you want it to be. And then it will, if you keep at it, you know, it will be.   Miko Lee: [00:23:32] Thanks. Okay. My last question for you is what are you reading, watching, or listening to right now? First thing that comes to your mind, what are you consuming?   Naomi Iizuka: [00:23:41] That's so great. I am reading, right now this, I guess you would call it a graphic novel Uzumaki, which is kind of iconic. And I had read part of it a while back, but I am kind of reading the whole, like all the volumes. And it's this Very strange, I guess you'd call it J horror, dystopian, comic, but it's beautifully illustrated and the story is really mysterious and compelling. I'm listening to Pod Save America just because it's election season and I'm really curious you know, what those guys have to say. And I haven't seen it yet, but I just actually texted Sean. I'm going to see that this weekend because it just came down to San Diego. I'm going to see Sing Sing with Coleman Domingo and Sean San Jose. And I cannot wait. I'm so excited. I feel like I'm the last person to see it because it was in New York and it was in LA and then it opened in San Diego just as I was like leaving to drop my son off at college. So I'm seeing it this weekend.   Miko Lee: [00:24:41] I just actually was looking at this note from Stephanie Shu saying go see it tonight. I will get you free tickets for Sing Sing. I was just thinking about that. I should go see that tonight.   Naomi Iizuka: [00:24:52] I'm so excited.   Miko Lee: [00:24:53] Me too. Very excited. and Coleman also lovely Bay Area person. Uzumaki, that looks fascinating. Supernatural psychological horror is what is the genre.   Naomi Iizuka: [00:25:06] No, it's, it's, it's really extraordinary. And, the thing is, is the reason I'm, I'm reading it now is I have like the full collected, all the volumes in one sort of giant omnibus. And so I'm reading everything, you know, all of them from beginning to end. I'd read the first, the first one, which is probably the most famous one, but it's great. I mean, even if it's not your cup of tea, it's, it's so cool. I love it. It is kind of my cup of tea, but, but even if it's not, you will love it.   Miko Lee: [00:25:32] Okay. Thank you for the recommendation. we're going to post links for people to buy tickets for the show at the magic. Is there anything else that you'd like to let our audience know about you and your work?   Naomi Iizuka: [00:25:44] I think you covered it. You're a really good interviewer.   Miko Lee: [00:25:49] Thank you so much for joining us on Apex Express. I'm going to see the show this weekend. I can't wait to see it and I'm excited to see what else you create next. Thank you so much, Naomi.   Naomi Iizuka: [00:26:00] Thank you.   Miko Lee: [00:26:01] Next up, listen to Florente Aguilar a Manila born guitarist and composer whose arrangements and composition successfully craft the balance between respect and redefinition of tradition. MUSIC   That was Florente Aguilar, a Manila born guitarist, and you are listening to Apex Express. Next up, take a listen to my conversation with advocate, activist and graphic illustrator, Eddie Ahn. It is quite amazing to hear from an artist, who's an activist, who's telling their story. And tonight it's all about how we retell stories, whether that's rewriting a traditional piece like Shakespeare or rewriting the tale that is your life and doing it. In graphic illustration style. So listen to my interview with Eddie Ahn. Welcome Eddie Ahn to Apex Express.   Eddie Ahn: [00:29:40] Thanks for having me.   Miko Lee: [00:29:41] I'm so excited to be able to talk to you about your new graphic memoir of family, community, and the fight for environmental justice. Loved reading your book and looking at the artistry. It's so powerful. So I want to start with my very first question that I ask many guests, which is who are your people and what legacy do you carry with you?   Eddie Ahn: [00:30:04] Gosh, the book itself covers a lot of my people, particularly my family, myself. I am now, two generations removed, of course, from my grandfather, which the book begins with. he himself was, uh, very brilliant person from all accounts, was a translator for the U S army and South Korean army during the Korean war. And then, I am also, you know, this, the son of immigrants, my mother and father who came from South Korea to the US and really built their careers and their family here. So I think a lot about that migration pattern and how it's influenced who I am today and what I do.   Miko Lee: [00:30:44] And what legacy do you carry with you from those ancestors?   Eddie Ahn: [00:30:48] I think a lot about their successes and failures. so the challenges that they encountered along the way. My grandfather, of course, was A survivor of a lot of trauma he himself went through the Korean War. and then also was separated from his family a lot after, you know, the Korean DMZ, the demilitarized zone was settled. So for him, his life is really one of, Very, very deep trauma and tragedy, having been separated from most of his family. And then he had to go start a new family in South Korea. And a lot of the book covers, the initial kind of devastation he faced. And then later on that the challenges he faced, even as an entrepreneur, very well educated person trying to survive in South Korea and my mother's resentments around that are also covered in the graphic memoir as well. So a lot of it is like, Dealing with that family kind of conflict and also understanding it in the scope of my own life and how I've chosen to pursue nonprofit work to begin with in the United States.   Miko Lee: [00:31:51] Thank you for sharing that. talk to me about the title of the book, Advocate, and what does that mean to you?   Eddie Ahn: [00:31:58] So the title of the book was always meant to have multiple meanings. It was about advocating for oneself, one's own identity, one's own career choice against, very different family expectations. And then it's about professional advocacy. It's about advocating for diverse communities. The nonprofit I work for is called Bright Line Defense, and we do a lot of environmental justice work. And environmental justice is oftentimes the intersection of issues on the environment, race and identity, and the economy, and then grappling with the intersectionality of those issues. There's a lot of complexity in what I do. And part of the title of the book reflects that and advocating again, for oneself. And for other communities.   Miko Lee: [00:32:46] I love this. And I related to this a lot in terms of nonprofit work. I'm wondering if you could share a little bit more about that, about Asian American expectations, particularly your family, Korean American, and the value of nonprofit work.   Eddie Ahn: [00:33:01] For my own family, my parents in particular, I think their expectations for me and what I was going to do with the educational degrees that I obtained. So I went to a really good school, Brown University in Rhode Island, and then I obtained a law degree at UC College of Law, San Francisco. For them, their expectation was, go out, become highly credentialed, and then go make money. Their metrics of success in the US was about a financial metric of success. and for myself, I never quite took to that, for better, for worse, perhaps for myself, which is also covered in the book, but it's also because I valued social work and the active building community, so much and for them, they struggled with that choice. It wasn't exactly what they saw as succeeding in the U S but for myself, it was always incredibly important to do and pursue.   Miko Lee: [00:33:53] I think that power of your convictions really shows up in the book strongly because I think the classic Asian American story, you did the things, you got the Ivy League degree, you got the law degree, and your connection with your grandfather. I'm wondering about your family's feeling about your connection with your grandfather in terms of being an advocate. What was that like for them and the expectations for you?   Eddie Ahn: [00:34:18] That's a great question. in many ways, they saw the connection that I had with my grandfather early on. So even in the book, I describe moments where I'm reading at his feet, you know, from his library collection, and we would talk about different topics. My Korean back then was always, you know, a shaky, maybe at best, it was conversational. But a lot of what he would relate to me were about complex subjects that, at the time, even as a child, I didn't fully understand. But at least I understood the feeling, the depth behind them, which is why I really enjoyed talking to him. I think my mother reading the book has been actually really surprised at the moments of connection I found. For instance, I drew a photo of myself with my grandfather that she didn't even realize existed. So, Seeing how that relationship has unfolded even through the creation of this book, um, for my mother has been actually really interesting to do.   Miko Lee: [00:35:14] Oh, I love that about your mom and kind of getting a another vision of the history just by seeing a photograph but an image you drew of a photograph. There's a beautiful resonance there and the style of illustrations that you do has a, a soft beauty to it that's kind of lyrical. I really appreciate that. I'm wondering if you could talk with us about the inspiration for creating this memoir and in the style that you did in the graphic novel style.   Eddie Ahn: [00:35:45] I love comics because a lot of it is not just about the art and the panel itself. It's how the story actually moves from panel to panel and how the art gets juxtaposed against larger scenes, for instance for myself in doing this graphic memoir, it was a big jump. for myself, like I'm self taught as an artist to begin with. So understanding, you know, things like. Perspective, coloring, anatomy, those are all things I had to learn as I created this particular graphic memoir. and part of the storytelling technique I use in this graphic memoir is also heavily relying on color to move the time periods of the story. So, for instance, my childhood is represented in shades of red. My days in college and up until law school are represented in shades of green. As I start to go through a more transitional stage in life, like getting more deeply into nonprofit work and trying to figure out how to use my law degree, those are all represented in So for me, like I really want to use color to create that sense of era changes and then also create. Flashbacks and flash forwards in the narrative as well that I think you can really only do in comics. I do think comics is a really unique medium in the way, especially if you're evaluating it or reading it in printed format allows you to turn the page back and forth and enjoy it.   Miko Lee: [00:37:12] What came first, the story that you wanted to tell or the images?   Eddie Ahn: [00:37:19] The very first comic I ever posted, because I originally started publishing these graphic memoir comics on Instagram, was about my Oakland Chinatown work. So my first job out of college was as an AmeriCorps member, working as an after school programmer. I taught arts and public speaking for elementary students, third through fifth grade. I think very nostalgically about that time. It was a really great experience overall to work with youth who were really into receiving the best education possible. They went to Lincoln Elementary School in Oakland, Chinatown. it was a lot of thinking about the joyful moments and then balancing against the difficulties of nonprofit work. So I was an AmeriCorps member, and if folks know, how Financially stressful that position can be. It's essentially at the time it was less than a thousand dollars a month for 40 hours a week. So it was a very under-resourced position. Maybe it's one way to put it, as you know, one tries to serve the community as well.   Miko Lee: [00:38:20] So can you share a little bit about your artistic process?   Eddie Ahn: [00:38:24] So I started with fiction when I worked in comics. And in fact, one of the first zines I ever created was, essentially collected comic strips for hyphen magazine, which was a great, Asian American issues magazine. And I really enjoyed telling stories through the lens, essentially the lens of fictional characters. So for instance, I had a talking turtle character that was trying to sell coffee across San Francisco. again, going back to my grandfather, very much patterned after my grandfather's failed entrepreneurial ambitions. So for me, there was a lot of joy in creating these comic strips, mostly illustrated in black and white. so just simple inks. When I started writing my own, graphic memoir, I was thinking more like what were big, ambitious kind of swings. I wanted to take at storytelling, which is why I started doing the more complex color scheme I described earlier. and then part of it was even trying to figure out what was the tone that I wanted to adopt when I even, was creating these comics on Instagram. So for me, like, it started very early on, perhaps in 2016, I started illustrating the first pages on paper. And then I didn't even publish them until February, 2020. So that was roughly like a week or two before the pandemic where I posted the first, comic and then the audience for it on Instagram grew a lot. So from a couple hundred from back then, to now what's probably over 80,000 followers.   Miko Lee: [00:39:56] Oh, that is so exciting. And by the way, I think, you know, this hyphen magazine, we're part of the same family because hyphen is part of the AACRE network that Apex Express is part of too.   Eddie Ahn: [00:40:05] Yes. I'm, I'm a big fan of AACRE to begin with. And yes, I've always had a lot of affection for the generations of leadership that, have essentially built up hyphen over a long period of time.   Miko Lee: [00:40:16] I love that. Can you talk a little bit about how you combine your artistry with your community organizing?   Eddie Ahn: [00:40:23] Yes, I, in the past I created my art through a series of zines, but then I had to learn how to market and essentially promote myself. And I think my community organizing skills did come into play when I was either going to say zine fests or local arts festivals, as well as Essentially creating art shows, solo art shows in San Francisco. So for each, self published comic book, I would essentially do an art show centered around it. and they, the venues ranged, you might know some of these venues like 111 Minna, marvelous coffee and wine bar, which is now closed, dot art bar and gallery. so there were a number of venues that I would set up essentially, a larger kind of act of community building through art. So I think a lot about those days because, this is all pre pandemic. I really enjoyed bringing together, folks in my nonprofit world, as well as, family and friends to come and appreciate, you know, essentially two or three years worth of art creation nowadays, the book tour has been a very different experience. So that's very much, you know, through a more established publisher, Penguin Random House, and then going to, a number of bookstores across the US has been also a really fun experience to do.   Miko Lee: [00:41:41] What have you learned from going to all these different bookstores?   Eddie Ahn: [00:41:45] I've gotten a better sense of history, how book selling actually happens, and New York, for instance, I did a, a large event, over a hundred people came to The Strand, in Manhattan, which has its own very long history in New York's literary scene.   Miko Lee: [00:42:00] Ah, one of my favorite bookstores, The Strand. Yeah. It's so exciting.   Eddie Ahn: [00:42:04] It's a really beautiful venue, where they hold their literary events. So, I've been very fascinated by how people come together around art through the book tour. And, the Strand event itself was a huge joy because it was, Set up as in conversation with another author, and I like to do those events because it feels less like I'm talking at people and more like I'm talking with a person and then seeing the audience's engagement with material, either through some audience members just flip through a couple pages, and then they'll immediately have questions, or they might have come to the event having read the entire book at this point with their own kind of set of nuanced questions. So seeing the whole range of questions through a number of events has been also a very fun experience.   Miko Lee: [00:42:55] And in the book you write about your family's expectations around non profit life, what do they think now about you as an artist, as a graphic novelist, and kind of going on this book tour? Where are they at with your career now?   Eddie Ahn: [00:43:10] My father actually got to experience some public art installations that I'd done in San Francisco. So, there are these utility boxes which are in the middle of the street. And then my art was blown up to essentially be wrapped around them and then displayed. And the art still exists. This was installed way back in 2019. And it's still around today. So for my dad to see that, take pictures of it, touch it with his own hands, I think was a really good experience. He really did appreciate the physicality of that art and how it's displayed in such a public way. Uh, unfortunately nowadays he's too sick to enjoy the book. but my mother on the other hand has read the book and I think One nice coda to, everything that's described in the book, you know, despite all the conflicts with my family about non profit work is that my mother has grown to appreciate what I do a lot, as a result of reading the book. She says she's read it three times now and has cried on each reading, which initially I was worried about because I thought, you know, She was really perhaps, sensitive about our family and how I describe our family conflicts in the book, but it was really more in her own words about how underappreciated nonprofit workers are at times and how she felt. A lot more empathy for them. As a result, I was really surprised by that observation. I really didn't think she would ever care much for what I do for a living. But, yeah, I thought that was a really nice, reaction on our part.   Miko Lee: [00:44:38] Oh, I love to hear that. switching a bit to you as a young organizer, you started pretty young, you know, with AmeriCorps and then working in nonprofit world. With your experience now, what message would you give yourself when you were just starting out as a student organizer?   Eddie Ahn: [00:44:56] Oh, I think at the time I was fairly cheerful about everything. And I, I think that attribute still, endures to this day. I think it's a really important a character trait to have when one does nonprofit work, because I think it's easy to go through life expecting a lot of things to wonder why you aren't getting X, Y, Z, for myself. What I would tell my younger self is, you know, continue with that cheerful attitude, perhaps have better boundaries at times to on average, my employers have been quite good in the nonprofit sphere, but I do think generally it's easy also to work. Perhaps too much, and to demand too much of oneself in service to community. So maybe, one thing I'll tell my younger self is, to pace yourself too and just be more focused on things that, really excited me at the end of the day. you know, the flip side of that, maybe a counterpoint is like, it was important to try out a lot of stuff too. So, I think it all worked out in many ways, just trying out things that it may not have been the most efficient use of my time, but I still learned a lot.   Miko Lee: [00:46:02] Speaking of pacing yourself, you currently have more than a full time job as an executive director of a environmental non profit. You're on several boards and commissions, and just have written this graphic novel. What do you do to take care of yourself?   Eddie Ahn: [00:46:19] Um, I do enjoy, you know, like most people streaming shows and, even one quirk of mine that I enjoy relaying is like, I'm very much into the let's what's called the let's play movement. it's watching essentially other people play video games on YouTube and myself, like I can play a video game. I have, played several, over the last few years that I really do enjoy, but there's something very kind of therapeutic about watching someone else be productive or. perhaps entertaining themselves, without me having to, figure it out myself. So I think part of it is like just being able to relax and just watch a screen is, is, relaxing a form of meditation.   Miko Lee: [00:47:00] Okay. Thanks for that. What do you want folks to understand after reading your graphic novel?   Eddie Ahn: [00:47:08] One interesting thing I've thought a lot about is how the book describes non profit work is not about saving communities. and that sometimes it's referred to in academia as like the savior complex or messiah complex. I do think just being Aware of the complexity of our world and how difficult it is to resolve or fix issues is a core message of the book I hope comes across, and in many ways, comics, you know, is dominated by the superhero genre too, which I think a lot, and of course I love superhero comics to begin with. I do read quite a few of them. And then what I've been fascinated by is thinking through like, Superheroes themselves as characters are out to often fix the world or save the world and so thinking through that dynamic and how this comic is not about that, I think has been a good thing to go through for myself as an artist. So I hope that message comes across despite it being a comic.   Miko Lee: [00:48:15] Thanks for that. I think it's, as opposed to the superhero genre, I see your book more in the personal stories like Pee Booie's The Best We Could Do or Marianne's Persepolis. I see it more in that genre of like really personal family storytelling as opposed to a superhero genre. It's so powerful.   Eddie Ahn: [00:48:38] Thank you. Yes, I agree. I really appreciate those books as well and how they're able to essentially highlight the perspective of the protagonists alongside the environments in which they grow up in, whether it's family or a nation state, etc.   Miko Lee: [00:48:55] And I appreciate how your graphic novel really has your trajectory, you know, going from understanding family, but also really your adult life as somebody that works in the nonprofit field. I think it's really new in that approach. What's next for you?   Eddie Ahn: [00:49:12] Oh, gosh, I am still drawing. I am never wanting to give up on art at the end of the day. I think it's how I've improved as an artist is that I do drive myself to think through, a larger, better project. On Instagram, I'll continue to publish more comics in the future. I am planning through a potential mural project in San Francisco. Uh, it would be very different than the utility box art installations I've done in the past. as for my nonprofit work at Brightline, I'm still very much enjoy it. I have a incredible, team that I work with and I. I've really come to appreciate everything that Brightline has as a result of early years of grinding work that I put in and then to see other people also put in really high quality work for the organization has has been a joy to me personally. So I hope to keep on doing what I'm doing at Brightline for a long time to come. And yeah, I guess we'll find out in the coming years ahead.   Miko Lee: [00:50:14] I like, I, I, one, I'm curious to find out more about the mural, excited to learn more about that, and it sounds like you're going to hold these, both sides of yourself as the artist, as the non profit leader, you're going to continue to do them both. I'm wondering, so much of non profit life is, we're learning by experience, you know, we're, and so I'm thinking about, The connection with being a self taught artist like you're always just learning something. How has being a self taught artist impacted your artistic work and your work in nonprofit world?   Eddie Ahn: [00:50:47] I think it's improved my patience, both in non profit work and in evolving my art style. everything I do is drawn by hand, so I typically just work pencil to paper, ink over pencils, and then finally, Copic markers, their alcohol based art marker, to lay on the color, and that technique essentially evolved over, gosh, uh, eight, nine year period to you and get to where the book is now, the book itself is the culmination of well over 5,000 hours, and each page, you know, on average is probably somewhere between 20 to 30 hours. So just having that kind of discipline to develop everything around the book, has really taught me a lot, I think about life. And then also it's been a nice form of meditation unto itself to just to be able to create art. For that long of a period, over, you know, essentially a long, timeline has, has been really good for my own processes, thinking processes around nonprofit work, because it pushes me to, be creative in the nonprofit work itself.   Miko Lee: [00:51:59] Well, Eddie Ahn, author of Advocate, tell our audience how they can find out more about your work.   Eddie Ahn: [00:52:06] The book can be found, in a number of local bookstores at this point, Penguin Random House has done excellent work in distributing across the US of course, it can be found at most major booksellers, such as Barnes Noble, bookshop.org, et cetera. and they can also find my art online for free on Instagram. The handle is at E H A—those are my initials, Eddie Ahn—comics, as it sounds.   Miko Lee: [00:52:37] Thank you so much. We so appreciate hearing, from you more about your book and we look forward to seeing your murals and seeing the work that you do out in the community.Thank you so much.   Eddie Ahn: [00:52:48] Thanks again for having me, Miko. Really appreciate you.   Miko Lee: [00:52:50] 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, Preti Mangala-Shekar, Swati Rayasam, Aisa Villarosa, Estella Owoimaha-Church, Gabriel Tanglao, Cheryl Truong and Ayame Keane-Lee.   The post APEX Express – 8.29.24 – Retelling Stories appeared first on KPFA.

In 330 BC, Alexander the Great conquers the city of Persepolis, the ceremonial capital of the Persian Empire. His troops later burn it to the ground, capping centuries of tensions between the Hellenistic Greeks and Macedonians and the Persians. That event kicks off Rachel Kousser's book Alexander at the End of the World: The Forgotten Final Years of Alexander the Great (Mariner Books, 2024), which tells the story of how Alexander—the unbeaten military genius and the most powerful man in that part of the world—decided to keep going, chasing rebellious ex-Persians and launching an unprecedented invasion of India. But what drove Alexander to keep marching? What was the kind of empire Alexander wanted to build? And why did he eventually turn back at the Indus River, his soldiers begging for him to return home? Rachel Kousser is the chair of the Classics department at the Graduate Center, City University of New York and a professor of ancient art and archaeology at Brooklyn College. She is also the author of The Afterlives of Greek Sculpture: Interaction, Transformation, Destruction (Cambridge University Press: 2017) and Hellenistic and Roman Ideal Sculpture: The Allure of the Classical (Cambridge University Press: 2008). She can be followed on Instagram at @rkousser. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Alexander at the End of the World. 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 330 BC, Alexander the Great conquers the city of Persepolis, the ceremonial capital of the Persian Empire. His troops later burn it to the ground, capping centuries of tensions between the Hellenistic Greeks and Macedonians and the Persians. That event kicks off Rachel Kousser's book Alexander at the End of the World: The Forgotten Final Years of Alexander the Great (Mariner Books, 2024), which tells the story of how Alexander—the unbeaten military genius and the most powerful man in that part of the world—decided to keep going, chasing rebellious ex-Persians and launching an unprecedented invasion of India. But what drove Alexander to keep marching? What was the kind of empire Alexander wanted to build? And why did he eventually turn back at the Indus River, his soldiers begging for him to return home? Rachel Kousser is the chair of the Classics department at the Graduate Center, City University of New York and a professor of ancient art and archaeology at Brooklyn College. She is also the author of The Afterlives of Greek Sculpture: Interaction, Transformation, Destruction (Cambridge University Press: 2017) and Hellenistic and Roman Ideal Sculpture: The Allure of the Classical (Cambridge University Press: 2008). She can be followed on Instagram at @rkousser. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Alexander at the End of the World. 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/history

In 330 BC, Alexander the Great conquers the city of Persepolis, the ceremonial capital of the Persian Empire. His troops later burn it to the ground, capping centuries of tensions between the Hellenistic Greeks and Macedonians and the Persians. That event kicks off Rachel Kousser's book Alexander at the End of the World: The Forgotten Final Years of Alexander the Great (Mariner Books, 2024), which tells the story of how Alexander—the unbeaten military genius and the most powerful man in that part of the world—decided to keep going, chasing rebellious ex-Persians and launching an unprecedented invasion of India. But what drove Alexander to keep marching? What was the kind of empire Alexander wanted to build? And why did he eventually turn back at the Indus River, his soldiers begging for him to return home? Rachel Kousser is the chair of the Classics department at the Graduate Center, City University of New York and a professor of ancient art and archaeology at Brooklyn College. She is also the author of The Afterlives of Greek Sculpture: Interaction, Transformation, Destruction (Cambridge University Press: 2017) and Hellenistic and Roman Ideal Sculpture: The Allure of the Classical (Cambridge University Press: 2008). She can be followed on Instagram at @rkousser. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Alexander at the End of the World. 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/military-history

In 330 BC, Alexander the Great conquers the city of Persepolis, the ceremonial capital of the Persian Empire. His troops later burn it to the ground, capping centuries of tensions between the Hellenistic Greeks and Macedonians and the Persians. That event kicks off Rachel Kousser's book Alexander at the End of the World: The Forgotten Final Years of Alexander the Great (Mariner Books, 2024), which tells the story of how Alexander—the unbeaten military genius and the most powerful man in that part of the world—decided to keep going, chasing rebellious ex-Persians and launching an unprecedented invasion of India. But what drove Alexander to keep marching? What was the kind of empire Alexander wanted to build? And why did he eventually turn back at the Indus River, his soldiers begging for him to return home? Rachel Kousser is the chair of the Classics department at the Graduate Center, City University of New York and a professor of ancient art and archaeology at Brooklyn College. She is also the author of The Afterlives of Greek Sculpture: Interaction, Transformation, Destruction (Cambridge University Press: 2017) and Hellenistic and Roman Ideal Sculpture: The Allure of the Classical (Cambridge University Press: 2008). She can be followed on Instagram at @rkousser. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Alexander at the End of the World. 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/middle-eastern-studies

In 330 BC, Alexander the Great conquers the city of Persepolis, the ceremonial capital of the Persian Empire. His troops later burn it to the ground, capping centuries of tensions between the Hellenistic Greeks and Macedonians and the Persians. That event kicks off Rachel Kousser's book Alexander at the End of the World: The Forgotten Final Years of Alexander the Great (Mariner Books, 2024), which tells the story of how Alexander—the unbeaten military genius and the most powerful man in that part of the world—decided to keep going, chasing rebellious ex-Persians and launching an unprecedented invasion of India. But what drove Alexander to keep marching? What was the kind of empire Alexander wanted to build? And why did he eventually turn back at the Indus River, his soldiers begging for him to return home? Rachel Kousser is the chair of the Classics department at the Graduate Center, City University of New York and a professor of ancient art and archaeology at Brooklyn College. She is also the author of The Afterlives of Greek Sculpture: Interaction, Transformation, Destruction (Cambridge University Press: 2017) and Hellenistic and Roman Ideal Sculpture: The Allure of the Classical (Cambridge University Press: 2008). She can be followed on Instagram at @rkousser. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Alexander at the End of the World. 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

In 330 BC, Alexander the Great conquers the city of Persepolis, the ceremonial capital of the Persian Empire. His troops later burn it to the ground, capping centuries of tensions between the Hellenistic Greeks and Macedonians and the Persians. That event kicks off Rachel Kousser's book Alexander at the End of the World: The Forgotten Final Years of Alexander the Great (Mariner Books, 2024), which tells the story of how Alexander—the unbeaten military genius and the most powerful man in that part of the world—decided to keep going, chasing rebellious ex-Persians and launching an unprecedented invasion of India. But what drove Alexander to keep marching? What was the kind of empire Alexander wanted to build? And why did he eventually turn back at the Indus River, his soldiers begging for him to return home? Rachel Kousser is the chair of the Classics department at the Graduate Center, City University of New York and a professor of ancient art and archaeology at Brooklyn College. She is also the author of The Afterlives of Greek Sculpture: Interaction, Transformation, Destruction (Cambridge University Press: 2017) and Hellenistic and Roman Ideal Sculpture: The Allure of the Classical (Cambridge University Press: 2008). She can be followed on Instagram at @rkousser. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Alexander at the End of the World. 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

In 330 BC, Alexander the Great conquers the city of Persepolis, the ceremonial capital of the Persian Empire. His troops later burn it to the ground, capping centuries of tensions between the Hellenistic Greeks and Macedonians and the Persians. That event kicks off Rachel Kousser's book Alexander at the End of the World: The Forgotten Final Years of Alexander the Great (Mariner Books, 2024), which tells the story of how Alexander—the unbeaten military genius and the most powerful man in that part of the world—decided to keep going, chasing rebellious ex-Persians and launching an unprecedented invasion of India. But what drove Alexander to keep marching? What was the kind of empire Alexander wanted to build? And why did he eventually turn back at the Indus River, his soldiers begging for him to return home? Rachel Kousser is the chair of the Classics department at the Graduate Center, City University of New York and a professor of ancient art and archaeology at Brooklyn College. She is also the author of The Afterlives of Greek Sculpture: Interaction, Transformation, Destruction (Cambridge University Press: 2017) and Hellenistic and Roman Ideal Sculpture: The Allure of the Classical (Cambridge University Press: 2008). She can be followed on Instagram at @rkousser. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Alexander at the End of the World. 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-review

In 330 BC, Alexander the Great conquers the city of Persepolis, the ceremonial capital of the Persian Empire. His troops later burn it to the ground, capping centuries of tensions between the Hellenistic Greeks and Macedonians and the Persians. That event kicks off Rachel Kousser's book Alexander at the End of the World: The Forgotten Final Years of Alexander the Great (Mariner Books, 2024), which tells the story of how Alexander—the unbeaten military genius and the most powerful man in that part of the world—decided to keep going, chasing rebellious ex-Persians and launching an unprecedented invasion of India. But what drove Alexander to keep marching? What was the kind of empire Alexander wanted to build? And why did he eventually turn back at the Indus River, his soldiers begging for him to return home? Rachel Kousser is the chair of the Classics department at the Graduate Center, City University of New York and a professor of ancient art and archaeology at Brooklyn College. She is also the author of The Afterlives of Greek Sculpture: Interaction, Transformation, Destruction (Cambridge University Press: 2017) and Hellenistic and Roman Ideal Sculpture: The Allure of the Classical (Cambridge University Press: 2008). She can be followed on Instagram at @rkousser. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Alexander at the End of the World. 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/book-of-the-day

Danielle joined Daniel and Harry from Jews on Film to discuss "Persepolis," the 2007 animated film co-directed by Marjane Satrapi.They discuss Marjane's split sense of identity throughout the film, and Danielle shares parallel stories of her grandfather that reflect the experience of living in Iran during the fall of the Shah and rise of the Islamic Fundamentalism during the late 1970s.Then the three talk about religious as well as national persecution for Iranians at that time and finish up the discussion weighing the pros and cons of various modern storytelling mediums such as graphic novel, animated film, and audio podcast.They close out the episode by ranking the film's "Jewishness" in terms of its cast & crew, content, and themes.

Daniel and Harry had Danielle Dardashti on last week to discuss the film Persepolis, and this week they are sharing the first episode of Danielle's series, "The Nightingale of Iran", enjoy!____________________________Sisters Danielle and Galeet Dardashti grew up in a Jewish American family band: The Dardashti Family. They sang international folk music in 12 languages – English, Hebrew, Yiddish, Ladino, Greek, Spanish, French, Japanese and more – but never any songs in Persian. This seems odd to them since both their father and grandfather were famous Iranian singers during the “Golden Age” for Jews in Iran, before the Islamic Revolution. Danielle and Galeet make a discovery that takes them back in time, and helps them find answers to their questions about why their family left Iran and abandoned their Iranian identity.Co-creators / Co-executive producers - Danielle Dardashti and Galeet DardashtiThe Nightingale of Iran - nightingaleofiran.comPresented by The Jewish Telegraphic Agency, a publication of 70 Faces MediaHost - Danielle DardashtiWriter / Director / Senior Producer - Danielle DardashtiProducer / Musical Director / Subject Matter Expert - Galeet DardashtiAudio Editors / Sound Designers - Rebecca Seidel and Zachary GoldbergStory Editor - Rider AlsopStory Consultant - Asal EhsanipourComposer of Theme Song - Galeet Dardashti: “Melekh” from her album Monajat, featuring Younes Dardashti (with Shanir Blumenkranz, Max ZT, Zafer Tawil, Philip Mayer)In Episode 1, The Time Machine, you heard our conversations with: Farid and Sheila Dardashti, Shahla Javdan, Homa Sarshar, Lili Keypour, and Nahid Pirnazar.Thank you to our sponsors:-Jewish Writers' Initiative Digital Storytellers Lab / Maimonides Fund-Common Era-Younes and Soraya Nazarian Family Foundation-The Himan Brown Charitable Trust-UCLA Mickey Katz Endowed Chair in Jewish Music-Be'chol Lashon (fiscal sponsor)Intro credits read by: Michelle DardashtiCover art design: Ghulam NabiAssistants: Courtney Cunningham & Jessica DeWeeseMarketing / PR: TinkDistributed by PRX, the Public Media ExchangeConnect with Jews on Film online:Jews on Film Merch - https://jews-on-film.printify.me/productsInstagram - https://www.instagram.com/jewsonfilm/Twitter - https://twitter.com/jewsonfilmpodYouTube - https://www.youtube.com/@jewsonfilmTikTok - https://www.tiktok.com/@jewsonfilmpod

Daniel and Harry are joined by Danielle Dardashti, co-creator and producer of "The Nightingale of Iran" podcast to discuss "Persepolis," the 2007 animated film co-directed by Marjane Satrapi.They discuss Marjane's split sense of identity throughout the film, and Danielle shares parallel stories of her grandfather that reflect the experience of living in Iran during the fall of the Shah and rise of the Islamic Fundamentalism during the late 1970s.Then the three talk about religious as well as national persecution for Iranians at that time and finish up the discussion weighing the pros and cons of various modern storytelling mediums such as graphic novel, animated film, and audio podcast.As always, they close out the episode by ranking the film's "Jewishness" in terms of its cast & crew, content, and themes.Persepolis Movie TrailerPersepolis on IMDBDanielle's LinksThe Nightingale of Iran PodcastDanielle Dardashti on InstagramConnect with Jews on Film online:Jews on Film Merch - https://jews-on-film.printify.me/productsInstagram - https://www.instagram.com/jewsonfilm/Twitter - https://twitter.com/jewsonfilmpodYouTube - https://www.youtube.com/@jewsonfilmTikTok - https://www.tiktok.com/@jewsonfilmpod

RADIO ROMANCE by Garrison Keillor, chosen by Sarah Phelps PERSEPOLIS by Marjane Satrapi, chosen by Irenosen Okojie ABSOLUTELY AND FOREVER by Rose Tremain, chosen by Harriett GilbertTwo authors pick books they love with Harriett Gilbert.Screenwriter, playwright and television producer Sarah Phelps (The Sixth Commandment, A Very British Scandal, EastEnders) brings us the trials and tribulations of a small-town radio station in the Midwest. Told with humour and irony, but also packs a punch.Novelist and short story writer Irenosen Okojie (Hag, Butterfly Fish, Speak Gigantular) chooses Persepolis by Marjane Satrapi, an autobiographical graphic novel charting the writer's childhood in Iran, set against the backdrop of the Iranian Revolution, before her move to Austria.Harriett Gilbert brings Absolutely and Forever by Rose Tremain, a story about the all-consuming power of first love, set 1960s London.Produced by Sally Heaven for BBC Audio Bristol Join the conversation on Instagram @bbcagoodread

“The normalization of things being taken away. You see all the things going on in Tehran in 1979 — you see them here as well, which makes it a sad, scary, and timeless tale.” PERSEPOLIS, by Marjane Satrapi is an award winning, now banned graphic autobiography from the early 2000s about a young girl growing up in Iran, and becoming a woman overseas, returning home, and dealing with everything in between.Originally published in French, Persepolis has sold millions of copies worldwide, and Satrapi also produced an award-winning film of the same name. In Persepolis, we meet young Marjane “Marji” Satrapi growing up in Tehran just before and during the Iranian Revolution of 1979, as well as thru the start of the Iran + Iraq War in the 1980s. Her parents are secular, upper-middle class activists, who worry for their precocious daughter's safety in the increasingly conservative and dangerous Iran, so send her off to Austria to become a teenager. Her teen years are fraught with all the drama you can expect from such an experience, but Marji - now becoming a young woman - always maintains the experience of an outsider looking in - with her feet in both worlds. Marji eventually returns to Iran to find that not only has her mother country changed, but she as well. This book was a surprise and illuminating for us in many ways, making us question - what would WE do in such a situation? This conversation is originally from from Quarantined Comics, where Raman + friends read comics that are so much more than just superheroes. PERSEPOLIS is a very Modern Minorities appropriate work, especially for the times we're living in, which you'll get to here us reflect on. Longtime friend of THAT pod Joshua joins from his most excellent podcast RABBIT FIGHTERS, where they pretty much do the same thing, but about movies and music. Learn more about your ad choices. Visit megaphone.fm/adchoices

During a worldwide Quarantined Comics and Rabbit Fighters podcast REVOLUTION, Raman + Josh (two non-Persian dudes doing a Persian protagonist podcat) got the ORIGINAL band back together to talk about a comic that somehow NEITHER of us had read before, PERSEPOLIS, by Marjane Satrapi, an award winning, now banned graphic autobiography from the early 2000s about a young girl growing up in Iran, and becoming a woman overseas, returning home, and dealing with everything in between. The book was originally published in French, and has sold millions of copies worldwide. Its creator Satrapi later produced an award-winning film of the same name In Persepolis, we meet young Marjane “Marji” Satrapi growing up in Tehran just before and during the Iranian Revolution of 1979, as well as thru the start of the Iran + Iraq War in the 1980s. Her parents, are secular, upper-middle class activists, who worry for their precocious daughter's safety in the increasingly conservative and dangerous Iran, so send her off to Austria to become a teenager. Her teen years are fraught with all the drama you can expect from such an experience, but Marji - now becoming a young woman - always maintains the experience of an outsider looking in - with her feet in both worlds. Marji eventually returns to Iran to find that not only has her mother country changed, but she as well. This book was a surprise and illuminating for us in many ways, making us question - what would WE do in such a situation? 

In this episode we analyse Iran's two 2026 FIFA World Cup qualification matches against Hong Kong & Uzbekistan. We discuss the squad and starting 11 selections made by Amir Ghalenoei. We hear from Hong Kong centre-back Leon Jones whom went to the same high school as our panelist Arya. Lastly we touch on topics such as AFC Champions League; recent corruption that has been brought to light in Iranian football and transfers this summer. 00:00 - Intro 02:10 - Overview of episode 03:00 - Team Melli June camp review 10:15 - Player selection 19:55 - Players for next camp 27:00 - Interview with Hong Kong's Leon Jones 43:32 - Next round of Asian World Cup Qualifiers 50:13 - FIFA rankings 51:45 - ACL men's & women's preview 57:20 - Domestic football corruption scandal 01:06:23 - Transfer wishlist 01:08:50 - Persepolis' Giorgi Gvelesiani in EURO 2024 01:11:15 - Gol Bezan celebrates 10 years 01:23:30 - Outro 01:26:29 - Masoud Shojaei promo Follow us on social media @GolBezan, leave a like/review & subscribe on the platform you listen on - YouTube, Spotify, Apple Podcasts, Google Podcasts, SoundCloud, Amazon, Castbox. Host & Editor: Samson Tamijani Panel: Erfan Hoseiny & Arya Allahverdi Guest: Leon Jones Graphics: Mahdi Javanbakhsh Intro Music: CASPIAN by ASADI https://instagram.com/dannyasadi https://smarturl.it/CASPIAN Outro Music: K!DMO https://instagram.com/kidmo.foreal Samson - https://twitter.com/GolBezanSamson Erfan - https://twitter.com/Eri1806 Arya - https://twitter.com/Arya_Allahverdi Leon - https://www.instagram.com/leonjones5 Mahdi - https://twitter.com/mativsh https://twitter.com/GolBezan https://twitter.com/GolBezanFarsi https://instagram.com/GolBezan https://facebook.com/GolBezanPodcast https://tiktok.com/@golbezan https://patreon.com/GolBezan

Nineveh was one of the great cities of ancient Mesopotamia. Situated on the eastern bank of the River Tigris, it rivalled cities like Babylon and Persepolis as the capital of the great Assyrian Empire and the seat of power for towering figures like Sennacherib and Ashurbanipal. But what were its origins, how did it become such a great city and how did it fall? In today's episode of The Ancients, Tristan Hughes is joined by Dr. Paul Collins to tell the story of Nineveh's history from start to end. Beginning with its Stone Age origins, they discuss its conquest by the Akkadians, its golden age as Mesopotamia's foremost city, and its obliteration at the hands of the Babylonians. This episode was produced by Joseph Knight and edited by Aidan Lonergan Enjoy unlimited access to award-winning original documentaries that are released weekly and AD-FREE podcasts. Get a subscription for £1 per month for 3 months with code ANCIENTS - sign up here.You can take part in our listener survey here.

This graphic memoir (ahem) This collection of comics chronicles the life of an Iranian girl named Marji, whose experiences are heavily based on those of author Marjane Satrapi. Satrapi lived through the Islamic Revolution in Iran and its authoritarian aftermath, and her story is one of resistance, education, and the difficulty of finding yourself amidst societal upheaval. Note: our discussion is based on reading the Complete Persepolis, which combines Volume 1: The Story of a Childhood with Volume 2: The Story of a Return.This episode is sponsored by Squarespace. Go to squarespace.com/overdue for 10% of your first purchase of a website or domain.Our theme music was composed by Nick Lerangis.Follow @overduepod on Instagram and BlueskyAdvertise on OverdueSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Recent decades have seen an unprecedented number of comics by and about Muslim people enter the global market. Now, Muslim Comics and Warscape Witnessing (Ohio State UP, 2023) offers the first major study of these works. Esra Mirze Santesso assesses Muslim comics to illustrate the multifaceted nature of seeing and representing daily lives within and outside of the homeland. Focusing on contemporary graphic narratives that are primarily but not exclusively from the Middle East--from blockbusters like Marjane Satrapi's Persepolis to more local efforts such as Leila Abdelrazaq's Baddawi--Santesso explores why the graphic form has become a popular and useful medium for articulating Muslim subjectivities. Further, she shows how Muslim comics "bear witness" to a range of faith-based positions that complicate discussions of global ummah or community, contest monolithic depictions of Muslims, and question the Islamist valorization of the shaheed, the "martyr" figure regarded as the ideal religious witness. By presenting varied depictions of everyday lives of Muslims navigating violence and militarization, this book reveals the connections between religious rituals and existence in warscapes and invites us to more deeply consider the nature of witnessing itself. Dr. Esra Santesso received her B.A. from Boğaziçi University in Istanbul, Turkey, and her PhD from the University of Nevada. She is currently Associate Professor in the Department of English at the University of Georgia. She specializes in postcolonial theory and literature with an emphasis on Muslim identity, diasporic and immigrant experiences, and human rights narratives. Her first book, Disorientation: Muslim Identity in Contemporary Anglophone Literature (Palgrave Macmillan, 2013) investigates the extent to which the questions and theories of postcolonial identity can be applied to Muslim subjects living in the West. She is the co-editor of Islam and Postcolonial Literature (Routledge, 2017), which offers a collection of essays on religion's role in self-representation explored via film, theater, poetry, visual arts, performance pieces. 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

Recent decades have seen an unprecedented number of comics by and about Muslim people enter the global market. Now, Muslim Comics and Warscape Witnessing (Ohio State UP, 2023) offers the first major study of these works. Esra Mirze Santesso assesses Muslim comics to illustrate the multifaceted nature of seeing and representing daily lives within and outside of the homeland. Focusing on contemporary graphic narratives that are primarily but not exclusively from the Middle East--from blockbusters like Marjane Satrapi's Persepolis to more local efforts such as Leila Abdelrazaq's Baddawi--Santesso explores why the graphic form has become a popular and useful medium for articulating Muslim subjectivities. Further, she shows how Muslim comics "bear witness" to a range of faith-based positions that complicate discussions of global ummah or community, contest monolithic depictions of Muslims, and question the Islamist valorization of the shaheed, the "martyr" figure regarded as the ideal religious witness. By presenting varied depictions of everyday lives of Muslims navigating violence and militarization, this book reveals the connections between religious rituals and existence in warscapes and invites us to more deeply consider the nature of witnessing itself. Dr. Esra Santesso received her B.A. from Boğaziçi University in Istanbul, Turkey, and her PhD from the University of Nevada. She is currently Associate Professor in the Department of English at the University of Georgia. She specializes in postcolonial theory and literature with an emphasis on Muslim identity, diasporic and immigrant experiences, and human rights narratives. Her first book, Disorientation: Muslim Identity in Contemporary Anglophone Literature (Palgrave Macmillan, 2013) investigates the extent to which the questions and theories of postcolonial identity can be applied to Muslim subjects living in the West. She is the co-editor of Islam and Postcolonial Literature (Routledge, 2017), which offers a collection of essays on religion's role in self-representation explored via film, theater, poetry, visual arts, performance pieces. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/islamic-studies

Recent decades have seen an unprecedented number of comics by and about Muslim people enter the global market. Now, Muslim Comics and Warscape Witnessing (Ohio State UP, 2023) offers the first major study of these works. Esra Mirze Santesso assesses Muslim comics to illustrate the multifaceted nature of seeing and representing daily lives within and outside of the homeland. Focusing on contemporary graphic narratives that are primarily but not exclusively from the Middle East--from blockbusters like Marjane Satrapi's Persepolis to more local efforts such as Leila Abdelrazaq's Baddawi--Santesso explores why the graphic form has become a popular and useful medium for articulating Muslim subjectivities. Further, she shows how Muslim comics "bear witness" to a range of faith-based positions that complicate discussions of global ummah or community, contest monolithic depictions of Muslims, and question the Islamist valorization of the shaheed, the "martyr" figure regarded as the ideal religious witness. By presenting varied depictions of everyday lives of Muslims navigating violence and militarization, this book reveals the connections between religious rituals and existence in warscapes and invites us to more deeply consider the nature of witnessing itself. Dr. Esra Santesso received her B.A. from Boğaziçi University in Istanbul, Turkey, and her PhD from the University of Nevada. She is currently Associate Professor in the Department of English at the University of Georgia. She specializes in postcolonial theory and literature with an emphasis on Muslim identity, diasporic and immigrant experiences, and human rights narratives. Her first book, Disorientation: Muslim Identity in Contemporary Anglophone Literature (Palgrave Macmillan, 2013) investigates the extent to which the questions and theories of postcolonial identity can be applied to Muslim subjects living in the West. She is the co-editor of Islam and Postcolonial Literature (Routledge, 2017), which offers a collection of essays on religion's role in self-representation explored via film, theater, poetry, visual arts, performance pieces. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Recent decades have seen an unprecedented number of comics by and about Muslim people enter the global market. Now, Muslim Comics and Warscape Witnessing (Ohio State UP, 2023) offers the first major study of these works. Esra Mirze Santesso assesses Muslim comics to illustrate the multifaceted nature of seeing and representing daily lives within and outside of the homeland. Focusing on contemporary graphic narratives that are primarily but not exclusively from the Middle East--from blockbusters like Marjane Satrapi's Persepolis to more local efforts such as Leila Abdelrazaq's Baddawi--Santesso explores why the graphic form has become a popular and useful medium for articulating Muslim subjectivities. Further, she shows how Muslim comics "bear witness" to a range of faith-based positions that complicate discussions of global ummah or community, contest monolithic depictions of Muslims, and question the Islamist valorization of the shaheed, the "martyr" figure regarded as the ideal religious witness. By presenting varied depictions of everyday lives of Muslims navigating violence and militarization, this book reveals the connections between religious rituals and existence in warscapes and invites us to more deeply consider the nature of witnessing itself. Dr. Esra Santesso received her B.A. from Boğaziçi University in Istanbul, Turkey, and her PhD from the University of Nevada. She is currently Associate Professor in the Department of English at the University of Georgia. She specializes in postcolonial theory and literature with an emphasis on Muslim identity, diasporic and immigrant experiences, and human rights narratives. Her first book, Disorientation: Muslim Identity in Contemporary Anglophone Literature (Palgrave Macmillan, 2013) investigates the extent to which the questions and theories of postcolonial identity can be applied to Muslim subjects living in the West. She is the co-editor of Islam and Postcolonial Literature (Routledge, 2017), which offers a collection of essays on religion's role in self-representation explored via film, theater, poetry, visual arts, performance pieces. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/middle-eastern-studies

In this very special Hands on Episode, Merry, Clint, and Adriana Lady Counselor of the Summer Isles, Archmaester of Pedantic Sophistry, and Founding Member of the Governor Santiago Singh Appreciation Society cover the second act of the seventh book of the BEST SCI FI SERIES EVER, Persepolis Rising from the Expanse.This episode includes:Adriana tells us why Governor Singh is her favorite character, even if he is a villain who is addicted to making bad decisions.A deep dive into how this book explores the theme of sacrifice, the political, and the personal, and the both. Theorizing about whether or not Singh was set up to fail (SPOILER: yes).Drummer and Avasarala talk about what it means to die for something or die for nothing. It's incredible.Holden absolutely rinses Singh on political philosophy and the importance of choice.Merry highlights the book's focus on how ideology is malleable. Clint gives the appreciation for Saba, Our Revolutionary King.Support the show

Alexis and Kari are on a well-deserved break this week, so we'd like to share one of their favorite past episodes with you, The LITeratti.  This week's theme, How to Survive a Crisis, is inspired by an amazing non-fic graphic novel, now turned into a film! One girl, the beloved only child of progressive parents, is sent to school in Austria. This is the story of her childhood, growing up in a time of war and revolution. Her parents hope that she'll escape what they see as Iran's oppressive regime. Together, she and her country must decide who they're supposed to be and who they actually are. The girl's name — Marjane Satrapi. The book — Persepolis. This is LIT Society. Let's get LIT!   Find Alexis and Kari online: Instagram — www.instagram.com/litsocietypod/; Twitter — twitter.com/litsocietypod; Facebook — www.facebook.com/LitSocietyPod/; and our website www.LitSocietyPod.com. Get in on the conversation by using #booksanddrama.  

In this program we'll take a look at the illustrious life of the great Persian King of Kings, Darius I, also known as Darius the Great.  Regarded by many as the most powerful ruler of the Achaemenid Dynasty of ancient Iran, Darius I is also amongst its most controversial.  We'll dive deeper into the life of great king, the contentious debate about his rise to power, and ultimately examine the words of Darius himself about his these and other aspects of his life and beliefs. Contents:00:00  Introduction and Historical Context03:37  Early Life of Darius05:14  Rise to Power as told in the Behistun Inscription16:55  Lineage and Family of Darius18:10  Rebellions and Troubles of 522 BC 20:43  Architect of an Empire: Satrapies, Reforms, Roads and Canals25:19  Darius the Builder: Susa and Persepolis 33:50  Expansion of the Achaemenid Empire35:25  The Ionian Revolt37:17  Invasion of Greece and the Battle of Marathon43:21  Thank You and PatronsSpecial thanks to Farya Faraji for the music: "Achaemenes""Shirin and Khosrow""The Riding Angaros""Memory of Cyrus""Spantodhata's Warning""The Apadana's Shadow""Battle of Cunaxa""Hyrcanian Lullaby""Immortals""Apranik's Charge""March of Achaemenes"Check out more of his work that spans across many countries, cultures and time periods: https://www.youtube.com/@faryafarajiFollow History with Cy:YouTube ChannelInstagramFacebookTwitterWebsite Support the show

Marjane Satrapi is best known for being the cartoonist and film maker behind Persepolis. She talks to Samira Ahmed about her new book - Woman, Life, Freedom - which she has created with 17 Iranian and international comic book artists. It documents the story of the death in custody of 22-year-old Mahsa Amini, a woman detained for allegedly not properly wearing the Islamic headscarf in 2022, and the subsequent protest movement which has swept Iran.In the Event of Moon Disaster is part of a new exhibition at the Sainsbury Centre for Visual Arts in Norfolk. It uses artificial intelligence to reimagine history, to ask what is truth? Centre Director Dr Jago Cooper and digital artist Francesca Panetta dive into conspiracy and misinformation, and discuss how an event as influential as the 1969 Apollo 11 moon landing could be manipulated, and how doubt can be cast on even the most well-known facts.And Samira and producer Julian May follow the Harlow Sculpture Trail, encountering work by some of the greatest artists of the 20th century, including Henry Moore, Barbara Hepworth and Elisabeth Frink. Presenter: Samira Ahmed Producer: Paul Waters

In this very special Hands on Episode, Merry and Clint cover the first act of the seventh book of the BEST SCI FI SERIES EVER, Persepolis Rising from the Expanse.This episode includes:Merry and Clint get legitimately choked up talking about the themes of family, mercy, humanity, and beauty. Everyone loves to hate (and love) that big idiot Santiago Singh.Clint gets to talk about Thomas Hobbes and the Leviathan, which is both waking and falling in the narrative.Merry goes long on whether punishment ships are a good idea or a bad idea (spoiler: BAD)We pour one out for Camina Drummer and her husband Saba, just the best fucking people.AVASARALA IS IN THIS PART.We give big middle fingers to Laconia, "benevolent dictatorship", and the concept of a non-human collective.Bobbie Draper. That's it. Bobbie Draper.Support the show

“Life isn't absurd! Some people give their lives for freedom."The coming-of-age experience can be an especially terrifying time, but when you're navigating your teenage years against the backdrop of political unrest and revolution, every decision you make becomes a political one. This week The Wives Colangelo are talking about Marjane Satrapi's PERSEPOLIS and discussing what it means to be punk in the face of oppression, having an identity crisis, and the importance of consuming international media as a means of unlearning propaganda.-----Become a Patron! https://www.patreon.com/thisendsatprom-------Article ReferencedWhat's On: 'Persepolis' depicts a world in which the personal is always political

https://www.sbs.com.au/whats-on/article/persepolis-depicts-a-world-in-which-the-personal-is-always-political/545ns8nq0?fbclid=IwAR13NQU40-VfM5OpooWRyVDrVb0LkqLYZcOv8by1dR7FL5_12WQP9NEDbnU-------Find the Show on Twitter & Instagram: @ThisEndsAtPromBJ Colangelo —Twitter & Instagram: @BJColangeloHarmony Colangelo — Twitter & Instagram: @Veloci_trap_tor----------Logo Design: Haley Doodles @HaleyDoodleDoTheme Song: The Sonder Bombs 'Title': https://thesonderbombs.bandcamp.com/