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Lauren Yee is an uber-talented playwright and screenwriter originally from San Francisco. Her plays cover a wide range of topics, from life as a Yee in San Francisco Chinatown to a 1970s rock band trying to survive during the days of the Khmer Rouge takeover of Cambodia. Her plays are a poignant mix of family, history, and culture filled with tension and humor.  Listen to our episode wherever you get Podcasts (Spotify, Apple Podcasts, YouTube Music, etc) Do yourself a favor, get to LA's @eastwestplayers in Little Tokyo, and go watch Cambodian Rock Band. It's a one of a kind play/musical that is truly magical. It plays only until March 23rd, 2025! You can also watch Lauren's television writing on shows like Pachinko and Interior Chinatown. Her play Mother Russia is debuting @seattlerep March 6-April 13th. Also, she wrote the book for the musical adaptation of A Wrinkle in Time, which will premiere in Washington DC on June 12th, 2025!   Follow Lauren on social media @mslaurenyee or read about her at https://laurenyee.com/ As I always mention, you can write to us at: ⁠infatuasianpodcast@gmail.com⁠, and please follow us on Instagram and Facebook @infatuasianpodcast  Our Theme: “Super Happy J-Pop Fun-Time” by Prismic Studios was arranged and performed by All Arms Around  Cover Art and Logo designed by Justin Chuan @w.a.h.w (We Are Half the World) #asianpodcast #asian #asianamerican #infatuasian #infatuasianpodcast #aapi #veryasian  #asianamericanpodcaster #representationmatters    

  A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Tonight on APEX Express Host Miko Lee continues the series on the Asian Prisoner Support Committee's campaign for justice for the APSC 4. The APSC4 are Ke Lam, Peejay Ai, Chanthon Bun and Maria Legarda. All are formerly incarcerated folx who have served their time and are currently incredibly valued leaders, advocates and healers in the community. They are also part of the staff of Asian Prisoner Support Committee and all are at risk of deportation.  In our most recent episode we showcased an interview with all of the APSC4, in our upcoming shows we will center on each person's individual story. Tonight we focus on Maria Legarde. Thank you to the HHREC Podcast for allowing us to re-air a portion of their show, which will be linked in our show notes. Maria's story is also featured in the zine we was girls together by Trần Châu Hà. The zine is on display in the Walking Stories exhibit at Edge on the Square in San Francisco Chinatown until February 28th.  For more information: Thank you to the HHREC Podcast for allowing us to rebroadcast part of their interview with Maria. Asian American Histories of Resistance timeline For tickets to Edge on the Square event APSC 4: https://action.18mr.org/pardonapsc3/ APSC Website: https://www.asianprisonersupport.com/ APSC Donation Page: https://donate.givedirect.org/?cid=13… APSC Get Involved Page: https://www.asianprisonersupport.com/apsc-4 Appreciation to the HHRC Podcast: https://www.youtube.com/@thehhrecpodcast83   Twitter:   / asianprisonersc   Facebook:   / asianprisonersupportcommittee   Instagram:   / asianprisonersc     SHOW TRANSCRIPT: APSC4 Part 2: Maria's Story   Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.   Ayame Keane-Lee: [00:02:01] Thank you for joining us tonight on Apex Express. Welcome to the second part in our series on the Asian Prisoner Support Committee's Campaign for Justice for the APSC4. The APSC4 are Ke Lam, Peejay Ai , Chanthon Bun, and Maria Legarda. All are formerly incarcerated folks who have served their time and are currently incredibly valued leaders, advocates, and healers in the community. They are also part of the staff of Asian Prisoner Support Committee, and all are at risk of deportation. You can help today by urging Governor Newsom to pardon APSC4, and protect them from deportation, which you can find the links for in our show notes. In our most recent episode, we showcased an interview with all of the APSC4. In our upcoming shows, we will center on each person's individual story. Tonight we focus on Maria Legarda. Thank you to the HHREC podcast for allowing us to re-air a portion of their show, which will be linked in our show notes. Maria's story is also featured in the zine we was girls together by Trần Châu Hà. The zine is on display in the Walking Stories exhibit at Edge on the Square in San Francisco Chinatown until February 28th. You can come view the zine in person at the Walking Stories closing event, arriving with our stories on February 28th, 2025, at Edge on the Square in San Francisco, Chinatown, from 6 to 8 pm. Co presented by Asian Americans for Civil Rights and Equality, Asian Prisoner Support Committee and Edge on the Square, featuring readings from Asian Prisoner Support Committee's recent anthology, Arriving, Freedom Writings of Asian and Pacific Islanders, along with a panel discussion with the APSC4. Maria's story, the one we'll hear tonight, that is also featured in the exhibit, echoes the broader themes of the Arriving anthology, Where AAPI community members share their journeys through criminalization, deportation, and reentry. These narratives expose the deep entanglement of the prison and immigration systems while humanizing and making visible the resilience of those impacted. The link to RSVP for the event will be included in the show notes, where you can also choose to donate 25 and receive a copy of the anthology. this event marks the closing ceremony of the yearlong exhibition walking stories, but also a commitment to the ongoing work to center the voices and stories of system impacted individuals through the oral testimonies of those still incarcerated and the panel discussion with community leaders of APSC4, a space where storytelling is not just a practice of remembrance, but a demand for justice and an ongoing continuing call to action is created. So join us at arriving with our stories on February 28th, 2025, from 6 to 8 PM at Edge on the Square, 800 Grant Avenue, San Francisco, California. Find the full details in our show notes and at edge on the square. org. Now let's listen to Maria Legarda share her journey content warnings for mentions of sexual violence, substance abuse, death, incarceration, and trauma.   Maria Legarda: [00:05:10] So I grew up in the Philippines, with my grandparents. My first years had the fondest memories there. Couple of years later, we moved to our new home. Had my baby brother and we moved and a couple years later, my sister was born. She had a medical condition when she was born and I saw the change in our household. You know, as she got older, her condition worsened and it took a toll on our family slowly. I withdrew from my folks, detached and I, I built a resentment towards my parents. I was young, this is what we used to have. And this is what's happening now, what's going on. You know, there was no emotional support when we were growing up, me and my brother. The focus was, Trying to get my sister better, you know, but I was young, I was young, and my brother was young for us to understand, you know, what was going on in our household, and, that started the separation between me, my parents, It was tough growing up, I'm the eldest and so I had to be responsible, you know, for my younger siblings and I didn't know. I didn't know what to do. so. When I got older, you know, my dad urged me to go to the U. S., you know, years where our family was in debt. And when I came to the U. S., I saw the opportunity to help my parents actually get out of debt, and help them. I didn't know the cost, the burden that it's going to cost me. being in a different country, and supporting my family alone. And I did everything that I could to help my parents and my siblings, not be in poverty. Not live day to day and have a future for them. but at the same time, being a young adult in America, when I immigrated here, it was after 9/11. So there was a lot of, society was different at that time and finding my place during that time was hard, you know, and I was alone, I was working hard. I was stressed, you know, I didn't have much help. ,and that started the drug use. it was hard for me to assimilate into a culture that it just looks, it's great. You know, being free and being able to experience a lot of different things, but deep down, I don't know how to, Find my place here. You know, I didn't have friends and I have my cousin, And I was dealing with a lot of the tension at home, too You know my mom dealing with my sister's death She passed away Dealing with the money issues dealing with her marriage I was her emotional support, and as a young adult, I don't know how to provide that for my family. And so the drug use became my coping here in a new country with new friends, and I just got tired of being hurt and being pain and, you know, the trauma of losing my sister. How do I deal with that? Losing my family because we were lost, you know, with her. And how do you cope from that?    Drugs became my coping. I was numb. I was happy, you know, because I didn't hurt anymore. and, you know, being alone here in the U. S., I turned to online chatting. That's where friendships, I found friendships in there. I was very young and naive and, You know, I met a man online who said all the right things, words, that I felt loved and cared for, for somebody like me that was so desperate for emotional connection and just to feel loved that was huge for me to find that one person to give me that attention. And so for six months, you know, I felt I was at the happiest in my life because I had somebody to turn to, I had somebody to talk to. And, I felt that I, you know, I have somebody with me that understands what I'm going through, um, when my own family is not there for me because they're too busy trying to take care of their own needs. And, um, you know, we started talking and, after six months, he promised to, um, take me out on a date. and when we met, um, it was fun, you know, for the first time seeing somebody behind, you know, the, the conversations and seeing him in person, it was nice. It's real. Right. And, you know, everything happened so fast at that time that, I was excited, but then there's that fear and, you know, we were on our way to where we were going at, you For our first date and he veered off to a hotel and, you know, in my inexperience you know, I was hoping that, okay, why are we veering off to this? This wasn't part of what we talked about, but things were happening so fast and I was engaged in the conversations and what we're going to do, or we're just going to go and see. And, you know, I was very vulnerable and I went with it. And before I knew it. I was at the hotel, you know, with him and, I was hoping and praying that nothing bad would happen, but unfortunately, you know, I was alone and knowing that it was just me and him soon enough, the inevitable would happen. And our first meeting, our first date, I was raped, you know, and, all the signs were there, you know, that desperate for that human connection and that, you know, I trusted him. I trusted him that, you know, he was a good person, but it happened, after that I went home and I told myself that it didn't happen. Pretended that it didn't happen. my mind and my body just disassociated, you know, from what just happened and, you know, went to bed the next day, went to work, like it never happened, like nothing happened. That intensified my drug use. It was my way of coping. Every time I hurt, every time I'm in pain, I feel pain, I feel hurt. I turned to drugs because it made me numb and it made me function. You know, I am able to function and continue on with the next day. Why? Because I have a family who's waiting for me, that depends on me, and I need to take care of them. and that's how it was for me.    For the next months, few months later, I found out that I was pregnant from the rape. And when I found out I was pregnant, I stopped using. You know, I was torn and at the same time I was still hoping there was still that small hope that what I had with him was real and I was suffering. Now I know that back then I was suffering from post traumatic, battered women's syndrome. I never got help from what happened that day. and so with the baby I have this, thought that maybe if he knew that I was pregnant, that he would come back to me. That's how my mindset was. I wanted my rapist to come back into my life. That's how desperate I was, you know, was alone. And I wasn't in the right state of mind, you know, with deep in my addiction, not being able to think rationally. By the time I, I asked, you know, for help, I asked my parents if they could, um, come and visit me here in the United States. I didn't know how to tell my mom about my addiction, about the rape, that I just needed them and they couldn't be there for me. And with everything else that's going on in my life, I hit, finally hit my rock bottom and I relapse, I relapse and I used, and me using far along in my pregnancy. That night induced my pregnancy, um, induced labor. And so the following morning, I went into premature labor. Again, I was alone in my room when they induced labor. I was in my bathroom and I gave birth to my son. I got him, picked him up, wrapped him in a towel, and when he wasn't breathing, I panicked. Wrapped him in a towel and put him in the room. And after that I went to go take care and get ready for work. What am I supposed to do with my baby not breathing? got ready for work, called the cab so I can go to work. I didn't make it to work because um, the cab driver took me to the hospital because I was so pale and I lost so much blood. And, um, so I stayed in the hospital and later on, um, medical staff was there. and, you know, the cops were there and I was arrested, I was sentenced to 25 years to life, for the death of my son.    I was 24 when I sat in the holding cell of California's biggest women's prison sitting there thinking, this is what. Life is going to be like for me. What is life going to be like for me? How did I get here, you know, and I was, I was in so much denial. You know, I was in so much denial I don't even know where to start. Because at that time, sitting there at that holding cell, I was still in a victim mode. You know, I knew I was responsible for the death of my son, but the extent of it, I couldn't even grasp the severity of how much harm I've caused. And for 14 years, I immersed myself in self help groups to make sure that I understood what happened that night, what happened at that time, you know, 25 years, there's no amount of punishment that I think would, would equate because I give that punishment to myself every single day. There's not a day that goes by that I don't think like, okay, today he would have been 19 years old. I wondered if he was playing basketball, would I take him to football games? Would I take him to baseball games? Like, what would it be like for him? You know, when my parents came to visit, Those were questions like my dad would want it to know, my mom would want it to know, and it's the big elephant in the room, we don't talk about it. But today, um, I hold, I am, you know, I hold responsibility, accountability for all my actions that led to that dreadful night. You know, when, when I went to board and I was found suitable, you know, one of the, one of the programs that, really helped me was, um, We're just to life, you know, forgiveness I have to find forgiveness in myself for what I've done for my past decisions in order for me to move on and make a difference in, you know, for people. If I wanted to help people, how am I supposed to help people if I can't even start healing within me? you know, took all the self help groups so I could have that understanding of where do I need to start in order for me to have a future and so that people around me, I wouldn't hurt anymore the people, those people that are around me. My family, my friends, even people that I don't know that when they see me, they wouldn't get scared of the person that they knew came from prison. You know, that was sentenced to 25 to life for killing her own son. I don't want to be that person. So. I took advantage of all the groups that, you know, were, were offered to us and I earned that second chance. when I went to board and to really deep, look deep in, deep down and where was that anger coming from? You know, why was it so hard for me to ask for help? And the biggest part that I learned was stepping out of denial, acknowledging that the rape happened, that it wasn't my fault, that I could overcome that and, I could take control back, you know, take that back and turn my life around and use that. You know, motivate myself to, find healing and forgiveness.    Today I'm a re-entry consultant for APSC. I help folks that are coming home from jails, from prisons, from detention centers. I help them navigate, you know, in their re entry. You know, coming home from detention, so after I, you after I paroled from CCWF, I knew that I would be, I had an ice hold and I would be detained and ICE came and picked me up in CCWF in 2019. You know, the first day of being free, I was welcomed with shackles, with handcuffs and a waist chain around my waist chain. And, I was walking, you know, into a white van and I drove off to the Holding cell, the ice holding cell, and I was on the road for 72 hours back and forth because they, they have nowhere to, put me, all the ice facility detention centers were, I guess, they were packed and they have no room for me. So they finally made room for me and I was in the Delanto where I stayed for 11 months. And. You know, when I was there, I'm just like Bun said, once they get you there, they ask you sign the paperwork, you deport, or you want to fight your case. And I've met Anoop, Anoop prepared me, you know, for when that day comes, like I just needed to let them know that, no, you're fighting because you have people, the community, the family here fighting alongside you. And that's what I told them. I said, no, I'm not. signing, I will go through the process and it was very, it was a very different experience, you know, with being sentenced to 25 years to life than being told, you have to sign this paper because I'm deporting you back to your country because you're not a citizen. You know, they don't see the changed person. They only see the person that was not born here in the United States. They don't see the person that has a family in the community waiting outside that building. They only see a convicted felon that has an aggravated felony that's not a U.S. citizen that needs to get deported back to the country where they were born. So knowing that every day, and I've always said it, you know, every moment in detention center is like a cliffhanger moment. You'll never know when your day is going to be when you don't come back to the dorm and you get shipped off and get sent to a plane. And then next thing you know, the next phone call your family gets is that you're in a country where you don't know where you're going. So that's what it was like in the detention center.    You know, it was the onset of COVID when I was able to file, a writ because of my medical condition. And by the grace of God, you know, with the community behind me, Anoop too, was very instrumental. I was released Friday when everybody was telling me that you're not going to get released. You know, the cutoff date, the cutoff time is six o'clock and you're not going to get released and you're not going to get a bond hearing. You're not going to you're not going to get released from here. There's just no hope for you. You know, that's what they tell us in, in detention, you know, there's the chances of us being released from detention. Once ICE has a hold of you is very, very slim. So for us, that's. small hope is really just a teeny tiny window for us. But it takes a community, you know, to work together to get us all out. And I have that support with Anoop, with APSC. So at six o'clock on a Friday, when they said that the judge is not going to rule today, you're going to have to wait. And the last, The last process already for people that were getting released were already done. There's, you're, that's it. You're not gonna get it. But 6:30 came. It was after count time. All the tablets in the detention center was ringing and it was a phone call for me and all I saw was my grandma on the other line saying that, she was crying, crying, hysterically crying. And so my heart dropped because I thought, okay, this is it. I'm getting deported, what I didn't know, was Anoop and my grandma were constantly in communication trying to get me out and the judge made a decision a little after six that before five o'clock Saturday morning, they are to release me. And, it took the community, you know, to get, to make that happen. And on April of 2019, I was released from Adelanto and I was released to Los Angeles. I couldn't, parole to San Francisco, to the Bay area because, um, of COVID shelter in place.    Ayame Keane-Lee: [00:23:30] You are listening to 94.1 KPFA and 89.3 KPFB in Berkeley, 88.1 KFCF in Fresno, 97.5 K248BR in Santa Cruz, 94.3 K232FZ in Monterey, and online worldwide at kpfa.org. We'll be right back to Maria's story after we listen to “7,000 Miles” by Ruby Ibarra featuring Ann One.   MUSIC   That was “7,000 Miles” by Ruby Ibarra, featuring Anne One. You are listening to Apex Express. Now let's get back to Maria Legarda ‘s story.   Phillip Winnick: [00:28:19] Um, Maria, how long did you know Anoop throughout this process when you were in the detention center? Um, and how did you manage to get to San Francisco?    Maria Legarda: [00:28:31] So I've known Anoop since 2015, end of 2015, beginning of 2016, right before board. I needed to seek his advice about, you know, my ICE detainer and how long. Like what the process is going to be, if I choose to fight it, if I don't fight it. And around that time, you know, we just had a new president in the Philippines and what would it look like for me if I don't win my case? Like, what are the chances, you know? So that's how we started corresponding, 2015, I prepped for board and then, um, when I got out in 2019, Prior to that, 2018, we started, corresponding frequently, more frequently because, My board date, um, is coming up, and, you know, when they ask me about questions about immigration, like, what do I say, Anoop, like, because the board wants to know everything, just like Bun mentioned before. They want to see the big picture. If we grant you parole, what are you going to do? So when it comes to immigration, like, what are your plans? So I have to have a realistic, it needs to be realistic for me. You know, there's no ifs and buts. I have to like, Anoop, what do I do? And if it's not possible, then I have to have a plan B, you know? So that's how we started corresponding and Anoop guided me in a lot of my preparation. and before I went to Adelanto, he prepped me step by steps on what it It's gonna look like for me once ICE picks me up and everything was on point, you know, they came and got me an R& R, I left around nine o'clock, the white van came and picked me up, I went to Fresno holding cell from there, they're gonna, assign me a, facility, you know, so that's how it started. And then when I ended up in Adelanto after 72 hours, they finally were able to locate me just like, when, you know, Anoop has a way of, you know, it's like a, you know, We have a GPS within us and Anoop just knows where to find us. So finally, you know, my grandma was telling me that Anoop told her that I was in Adelanto and, you know, later on I'm going to be in the system. And so, when I got there, everything that Anoop told me to, like, when you get there and they ask you for your signature, you tell them that, you're fighting your case, this is what's happening. You give them my number and, you know, so that's the step by step process.    And, that's, that's how Anoop got me, situated when I got to Adelanto and in preparing for my, my hearing, he walked me through it too. from the Bay Area, I was all the way to like, what, San Bernardino County in Adelanto and he was guiding me every step of the way. He had some, The Advancing Justice LA kind of like helped me, you know, with representing. Um, so I have extra help, and then preparing for CAT hearing, preparing for, just, you know, the whole time that I was in Adelanto, I was in constant communication with Anoop. Sometimes it's not even about legal support, just emotional support. Like, okay. Anoop you have to, you have to just tell me. Tell me what I'm looking at. Tell me what I need to do. What are my next steps? What are my chances? And that really helped a lot, you know, stepping out of denial. That was my life story or, you know, I'm always in denial. And so this time, like, no, Anoop I need to know, like, what am I looking at? and so when. when it wasn't going, it didn't look well, you know, for me, as far as my hearing, it gave me all my probabilities, And I know what I need to do. So that's how we, I've always, um, until today, I still seek Anoop's advice about everything. you know, not being able to get my ID, like Anoop would be my next step, not being able to get, I said, some paperwork, some documents. So every step of the way in this whole journey, he's always been our, You know, emotional support, legal support, in everything.   Anoop Prasad: [00:32:40] I think what's really amazing and special at APSC is I met most of the staff at APSC when they were incarcerated. And most of the APSC staff first met each other in prison, often when they were just kids. And I think that makes APSC just like such a special place. Um, and I met Maria through Nia Norn, who's our co director and met Maria at CCW Afton prison. Um, and I'd been writing Nia about her ICE hold and her deportation when she was serving a life sentence. and then she over mail introduced me to Maria and I started writing with Maria. and there's this ripple effect of hope and freedom from every person who gets out and Maria has helped so many other people and she got out, get out of prison and out of ICE and same with Bun.That's helped so many other folks in San Quentin and throughout the entire prison system get out. And so it's really amazing seeing folks come home and then come back to get other folks out.    Phillip Winnick: [00:33:33] Yeah, it's incredible. Um, Maria, why don't you tell us about some of the experiences you had, um, helping people out with the APSC?   Maria Legarda: [00:33:41] Oh, where do I start?    Phillip Winnick: [00:33:43] Most memorable, I guess.    Maria Legarda: [00:33:44] Yeah, the most memorable. you know, I've been sober for 20 plus years now and, one of my clients, um, when I introduced myself to her, I always introduced myself as a formerly incarcerated individual because I don't want them to feel that I'm, you know, most of my clients have had traumas and have been judged for a very long time. And I don't want them to think that I'm law enforcement or anything like that. And so I always tell them, oh, hi, my name is Maria and I'm formerly incarcerated. I served 14, 15 years and they're like, what? And so that opens up, you know the, the door and it becomes an easy conversation to have. And so when one of my clients, she told me that Maria, I'm 20 months sober. I was like, Oh, I'm so happy for you. And she's like, really? It's like, yes. Don't you know that it's an accomplishment? It's like, why? It's like, Oh my God, you just give me one day. I'd be the happiest person. And she said, why? Because I'm 20 years sober, 20 plus years sober. You're 20 months. You're going to get to where I'm at. And so that started that conversation and that just bond between us. She's, you know, she, she's worked hard and she needed some help in different aspects of, you know, her trying to get her life together. Like Maria, I need to get my kids. Um, I'm in the process. What do I do? It's like, okay, don't worry. We're going to find you some resources. We're going to find you some, help with the law clinics and see who can take your case. And we'll start from that. It's like, okay. she needs housing. We signed her up for a housing and, it didn't work out for her because she already participated in a similar program. So what we did was, okay, maybe we should start, you know, asking your CPS and this is what we're going to do. So having case plan goals in order for her to see what would best suit her, what she wants to do in life and what she wants for her kids. we worked on that, you know. and her desire to be a substance abuse counselor.​​ The team, actually, I had talked to [unintelligible]. We need to help her get enrolled and she doesn't have, financially, she's struggling. She has three kids on coming back to her. You know, she's getting her custody, her three kids custody back. So, you know, her hands are gonna be full. we need to help her. What do we do? He's like Maria, enroll her. Like, I can? Like, yes, enroll her. I was like, really? I can enroll her? And to me, when my boss said I can enroll her, I was like, oh my god, that's like, you know, you're giving something. Like, that's a gift. It, it doesn't cost a lot, but that's her future. That's the kid's future. And her having, you know, a career after that. She's been on drugs for as long as she remembers, right? So that's the greatest achievement for her at that time to be a substance abuse counselor. And just like, Maria, can you please help me find a class and to be able to do that? That's why I'm doing the work that I do because if I can make a difference, even just by enrolling them, you know, what other programs do that? I don't know if they do that, out of their organization's pocket to sponsor somebody, you know, for higher education. So that was one of my memorable moments helping one of my clients get her classes to become a substance abuse counselor. Thank you.    You know, and then the other one, we had one of our clients struggling with substance abuse and, his wife called me and she's not actually our client, but you know, we're all about family reunification. So if the wife, if the kids are having trouble and they have my phone number, they can reach out to us and we'll help them. Right. And she reached out and she felt really this burden of guilt because. Like Maria, I don't want to turn him in, but like he was drunk and being a, being a domestic violence survivor, right? I told her like, look, the first, that's the best, like, he's not going to be mad at you because you put your daughter's care and your care in your life first before anything and because I know he's a good father to her and a good man to you, besides that, you know, addiction, it creeps up on you and it crept up on him. And I said, you did the right thing. You did the right thing for him, because when the time comes, you were his accountable, accountability partner. So, you guys are both responsible for your daughter, and you did the right thing. And just walking her through that, because the guilt that was eating her up, because the whole family's mad at her because she put him there, she shouldn't have to go through that alone. You know, so, just taking the time, throughout the week and checking up on her. Do you need food? I can, we have pantry available for you. like, do you need diapers formula for the kid, for your daughter? Like, we have somewhere, a place that you can go to, to get some help in these trying times. And she's like, okay, Maria, I'm going. So other than the emotional support and you know, the, other things that she needs, just getting her through that toughest time, there's just no, there's no, amount of like, there's no satisfaction other than seeing a mother and the daughter being together and then now reunited with, you know, them reunited as a family.    Phillip Winnick: [00:39:19] The feeling of you helping people who feel alone in a situation that you are similar to, and that you felt alone in, what is that feeling of being able to give these, these people somebody to talk to who have been through what, what they've been through?   Maria Legarda: [00:39:38] You know, it feels good is not even like amount to it because, um, I always wondered what if somebody, you know, what if somebody took their time, you to ask me, like, Maria, is everything okay? I felt like that could have. You know, that could have made a difference. Maybe not, but I wouldn't know, right. Because of what I went through, but I don't want that to be me. So when people come my way, I, I encounter people and, you know, I get a sense of like, what's going on, you know, like what's going on in your life. Like, you know, to have a conversation and just get to know them just a little bit, Then that's when I know, you know, like, okay, this is what they're going through. So let me just walk them through it. Why? Because some people don't even know that they need that at that moment, at that time. You know, I, I didn't know that maybe, you know, if one of the lifer OGs, you know, and in the beginning of my time, if she didn't make an effort and say like, baby, you know, you can be more than just this around you. There's hope out there for you. And that, gave me that small window of hope that maybe there is a chance for me to get out of this place and see myself outside these walls, right? So when I encounter people and I know that they've been in situations, I don't know exactly what it is, I'll just give some time and just get to know, talk to them just a little bit. Just a little bit to see, like, what is it that you need? Maybe that's, you know, a few seconds would make a difference, right? So if that's what it needs, if that's what somebody needs, a few seconds of my time to deter them from making that one major, decision in their life that's gonna alter the course, right, of their life and go down that path that I went down on, like, that I've gone through, if I can prevent them from that. Then I did my job for that day, not my job, but I did what I'm supposed to do, you know, I felt like I went through all these obstacles in life because I have a purpose now, you know, and it's not about saving everybody, but just being there for that person at that moment when it counts.   Ayame Keane-Lee: [00:42:01] We'll be right back after the next song, “GRLGNG” by Rocky Rivera.   MUSIC   You are listening to Apex Express. That was “GRLGNG” by Rocky Rivera. Thanks again to the HHREC podcast for allowing us to re-air a portion of their show. Let's get back to it.   Phillip Winnick: [00:46:22] That's incredible. And I'm so happy for you that you found that for yourself. Why don't you, you were, you were talking about the support groups a little bit earlier. Why don't you, uh, tell me more about that?    Maria Legarda: [00:46:33] Oh, so APSC, created, me and my director created, community and, re entry empowerment, which stands for CARE. It's APSC's first women's support group for formerly incarcerated women and transgender folks here in the Bay Area. And. You know, after years of incarceration, you know, navigating in, society, right, coming back home, transitioning into society, there's a lot of overwhelming experiences and obstacles that we all go through. And so I know a lot of people. Women need that support, but where do we get that support? So we've been in a lot of re entry groups, support groups, and men have it, like they have it it's, you know, it's available for them, but what about the women? And so when we started it, um, we started with 24 people, asking is this something that you're interested in? And majority of them said, yes, like, we need this because women wear many hats, you know, some are daughters, sisters, mothers, grandmothers, and there's a lot in their lives that they go through. and as formerly incarcerated, not everybody understands what it's like. So for us, you know, it's, we live right next to each other, right? If I need help and I need support, I'm going to knock on the door like, Hey, you got a few minutes. Like, cause I need to talk right now. Like, okay, come on. We'll walk down the yard, walk down and hash it out, talk and, you know, what's going on with you. It's like, I'm going through it. We can just talk. But now being out here, some live in the Bay area, some live in Antioch, some live in Pittsburgh, some live in Dinuba, some live up the mountains, like how do you find that support? Right? Some are tech challenged. They don't know how to zoom. They don't know how to FaceTime. So how do you do that? So we. made it possible for them, you know, to find, to have that space where we can meet every month and check in and see what's happening with it, with each other. You know, what's going on? What kind of support do you need? What resources do you need? Who do you need to get connected with? And, you know, being in that support group for six months, it's like I never left my sisters inside. You know, the bond that we formed, and I know Bun can, you know, relate to this, the bond that we formed, you know, in those walls, it just continued in that Zoom space, you know, and it, recharged, that motivation, that encouragement that we've always looked out for each other when we were inside. So now that we're out here, like, no, it doesn't mean that just because we're all out that we have to stop. So that space being created for us, we were able to reconnect and help each other out and playing phone tag and have text thread messages and emails. And so it just needed to get started. Like, no, this is what we're going to do. This is how we can be there for each other. And so the program was a success. You know, we graduated in December. We started with 24, but due to work conflicts, we graduated with 19 women, who participated and completed the program. We had three in person events. Their whole family came with us with a graduation. And the one thing we wanted for our graduates, our participants, is that to spend a weekend with their family without having to worry about, Oh my God, we're going to have to travel. It's going to cost us money. No. We wanted them to spend time with each other as a unit, as a family, because of all those years that they were separated. Right. And not only that, be in the same space with the sisters that they've left, that they've been celebrating Christmases for two decades that's how much time these women have spent with each other. And now that they're out, they just needed to find a place to, you know, have a reunion. But at the same time, continue what we have when we were inside. Cause it doesn't mean it has to stop. So now with the success of the program, We're getting emails and we're getting, you know, when can we start the next group? When can I participate? When can I come over? Am I going to be able to come to the Bay Area reunion? So there's that hope, you know, that they're not alone because, like we know now it's, you know, these are challenging and difficult times and we're here, you know, we we just. Don't leave any of our sisters behind we just come on we got you just like we've always had each other's backs.   Ayame Keane-Lee: [00:51:18] You can learn more about Maria's story in the zine we was girls together by Trần Châu Hà. It portrays the story that you just heard along with more details. Maria's story is one of many. She's a survivor of gender based violence, forced to migrate to the United States due to the economic consequences of Western imperialism in the Philippines. Migrant women like Maria experience the compounding forces of colonialism, border exclusion, and economic exploitation in the United States, making them even more vulnerable to abusive relationships. In their attempts to survive, these women are usually met with criminal punishment rather than support or care. An estimated 94 percent of those in women's facilities are abuse survivors. In the absence of state sanctioned support, these women turn to one another, building their own networks of care and advocacy for each other's freedom. These networks illuminate the nature in which feminist care work is inherently a practice of racial solidarity between Black, Brown, Indigenous, and API women. The zine we was girls together, seeks to honor Maria's story alongside that of her community of incarcerated women, documenting their solidarity campaigns, mutual aid projects, and life affirming relationships to one another. Thank you so much for joining us. We hope you will have the opportunity to join the live event on February 28th and to take action in support of the APSC4. You can also find out more about Maria and the APSC4 in the Asian American Histories of Resistance Timeline that is both online and in augmented reality form in the gallery. This timeline spans from 1873 to present day. We have interviewed scholar Helen Zia on Apex Express multiple times. She talks about moments that are MIH, or missing in history. In the timeline, Acre, Asian Americans for Civil Rights and Equality, presents moments of our Asian American story that are MIH. One of those stories is about Maria. Apex Express is a proud member of ACRE, Asian Americans for Civil Rights and Equality. We are committed to fighting for a more just and equitable world. As Grace Lee Boggs said, We are the leaders we've been waiting for.   Miko Lee: [00:53:26] Please check out our website, kpfa.org. To find out more about our show tonight. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world because your voices are important. APEX Express is created by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, Aisa Villarosa, Estella Owoimaha-Church, Gabriel Tangloao, Cheryl Truong and Ayame Keane-Lee.    The post APEX Express – 2.13.25 – Arriving APSC4 Maria's Story appeared first on KPFA.

  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.   In this episode of APEX Express, host Cheryl shares Part 1 of a powerful intergenerational conversation featuring the OG organizers of Chinese for Affirmative Action (CAA) and young leaders from Hmong Innovating Politics (HIP). The discussion highlights the challenges and inspirations that drove CAA's founders to join the Asian American Movement of the '60s and '70s, offering valuable lessons for sustaining activism across generations. Important Links: Chinese for Affirmative Action: Website  |  Instagram Hmong Innovating Politics: Website  |  Instagram Transcript   Cheryl Truong: good evening and welcome to tonight's episode of apex express. I'm your host, Cheryl Truong and tonight is an AACRE night. Now you might be wondering what is AACRE. AACRE stands for the Asian Americans for civil rights and Equality network, which is made up of 11 grassroots, social justice groups. Together leverage the power of our network to focus on longterm movement, building and support for Asian-Americans committed to social justice. And speaking of AACRE groups. APEX express is proud to be a part of the AACRE network.  For tonight's show, I'm thrilled to share a really special and intimate recording from a panel discussion we hosted here at the AACRE network that bridges generations of organizing. This panel brought together the OGs– originals– who helped build chinese for Affirmative Action or CAA into the esteemed 50 year old civil rights organization it is today. Alongside young organizers from Hmong Innovating Politics, also known as HIP, who are paving the way for Hmong Americans in Sacramento and Fresno. Both hip and CAA are vital groups within the AACRE network. The purpose of this exchange. To spark an intergenerational dialogue between seasoned CAA leaders and current hip staff and exploring how their roles in the movement have evolved over time.  Together, they delve into the strategies they've employed to sustain their impact over decades of organizing. However, this is only part one of what is and was a much longer conversation. So for tonight's episode, we'll focus on getting to know some of the CAA OGs. You'll hear them introduce themselves. Share some of the hardships they faced as pivotal organizers during the Asian-American movement of the tumultuous sixties and seventies. And reflect on what catalyze them to get involved in the movement. Through the stories we hope to uncover lessons from the past that can guide us in sustaining and evolving the fight for justice today. So stay tuned. It's going to be an inspiring and reflective journey into the heart of activism.  So I'm pleased to introduce. The panel facilitator, Miko Lee who is AACRE's director of programs. And CAA OGs Germaine Wong Henry Der Laureen Chew Stephen Owyang and Yvonne Yim-Hung Lee  Miko: Yvonne,  what was a kind of chrysalis moment for you in terms of social justice? Yvonne Yim-Hung Lee: First of all, when I got the email, I didn't know what O. G. was, so I said “Oh Geezer!” That's how I interpret it. I said “Oh, I'm there!” This is going to be a really honest and frank family gathering so thank you inviting me and I'm really excited to be here with my, peers and colleagues and more importantly to really hear from you, your experience. I am a first generation immigrant. My parents were very well to do business people in Hong Kong. They decided to immigrate to this country with three young kids. My father when he was young, he was the richest boy in his village. Overnight, people came and forced his father to give up 98 acres of their 99 acre farm. So from being the richest boy in town, in his village, to have to go to Hong Kong to live with this uncle. My mom was from a rich family in China also. Her father was one of the few merchants who came to the U.S. after the Chinese Exclusion Act, he went to New York, opened up a pastry shop, but he found his goal. He won second prize of a New York lotto. So he decided to go back to China because even though he was a merchant, he experienced a lot of discrimination. He never talked about his experience in America. But my mom was a little princess. You know, we used to call her , and her friends, the little Paris Hilton of the group, because that's what they did. They went to school as ABC's, never had to work a day in their life. But one thing, She and my father, because they were both from richest families in different villages, they were supposed to be matched up. But by the time they were at marriage age, he was already a poor kid. But my mom told the father, said, a promise is a promise.. So she married this poor guy, moved to Hong Kong, and he did quite well for himself. So we were brought up, ” money is not what should drive you in your life. You can lose it in one day. The most important thing is to have a good heart, to make sure that everything in this world, you have to make a difference. Whether it's to your family, or to others. You cannot be angry, because someone else is going to make you angry. When we came, it was a really tough time for him. You know, we lived really well in Hong Kong. Coming here to live in Chinatown back in the 60s really wasn't that pleasant. But, we made do based on the three principles. We came here for freedom. We came here for knowledge. And knowledge doesn't mean just college. So we were lucky. We never were forced to study certain fields so that we can make money because for him, it was always experience to really, really take in the nourishment for yourself, but give out whatever you have to others. So based on the guidance and that's how, that's my North Star. That's what's driven me. So I went to Davis. Yay Davis and the Cows! They're still there. What really got me to community activism was when I was 16, I was in the hospital. And They put this, at the time I thought she was elderly, but thinking back she was probably in her 30s. But when she was 16, anyway over 20 is elderly. And she could not speak English. And they could not communicate with her. And half of the hospital staff was making fun of her. And that was in, 70? 1970? It wasn't that long ago. It was still in my our lifetime. So, I was young but I acted as her translator. It was very difficult because she has women issues. And I didn't know her. And her husband was standing there. And she had to tell me her most intimate thing. And all the room of doctors, nurses and everything– they were very dismissive of her because of the fact that she did not speak their language. So because of that I felt that that's wrong. Because prior to that, even when we were living in Chinatown, I still felt I was privileged. You know, we weren't poor. We were still doing well. But after seeing that experience, it really taught me that even though we came to America for freedom, freedom is only for those who could really stand for themselves. And there are some who, if they cannot, send someone else in to fight with them. Not for them, but with them. So that's how I started my career, and I jumped from place to place. I'm not the CAA member, but I'm the honorary member of CAA because I had the privilege of working with Henry. All the meetings that we had back in the 70s, 80s, and 90s and everything with Ted and Steve on redistricting, immigration reform, census, welfare reform, everything that we today take granted. We don't even think about it. Came from here. This room. Before this room, it was another room. It was a little less, little place. We, we moved up by, by moving here in the 90s. So, thank you so much for this privilege and I look forward to our conversation. Miko: Thank you, Yvonne. And I just, OG, just so you know, does not mean OG. Does anybody want to explain what OG means? Hmong Innovating Politics (HIP) Staff: Old Gangster   Miko: It's actually a hip hop terminology for gangster, but it actually means the original. Who's the original, the source of the knowledge, the source of the power. So it's, we use it with love and honor.  Yvonne Yim-Hung Lee: Intergenerational communication.  Miko: I'm sorry I did  Henry Derr: I have to say, I never liked the term O. G. when I first heard it. Because I thought it meant an old guy, Even though I'm old, I didn't want to admit that I was old. , one thing I have to say straight away is, you all are happy about this weather, I'm very unhappy about this weather, because I, even though I'm a native of San Francisco, Chinatown, at the age of seven, my family moved into Stockton. I went through all my schooling till I graduated from Franklin High School on the east side of Highway 99. Some of you may have, your high schools may have competed against Franklin High School. When we moved into Stockton for the longest time, We could never figure out why in the hell our father moved us into Stockton, because we were the only one or two Chinese family on the east side of Stockton right there on Main Street. And then over time, and actually very recently when I think about it, there was, he probably had a good reason for moving us into Stockton. Because my father was actually quite clever in terms of circumventing the discriminatory impact of the Chinese Exclusion Act. As some of you may know, a lot of Chinese men who came here to the United States after the Exclusion Act had to lie about who they were. They would claim that they were sons of U. S. citizens in order to enter the United States. Well, it turned out that my father and my mother on paper had 17 children. And in our family, there were really only just eight of us who were born from our parents and my oldest brother who was adopted. The rest were actually paper sons. So my father moved the family into Stockton because I remember very clearly when I was less than five years old, my mom said to us, children, don't say anything about the family when you go out the streets and I could never understand why don't say anything about that. Well, it turned out that. There were a lot of immigration agents prowling around Chinatown during the fifties, during the confession program. So, I think my father made the right choice to move the family into Stockton. And we always longed about coming back to San Francisco. But also looking back at it, it was actually a blessing in disguise. Because I actually grew up, as some of you may know, from Fresno, Sacramento, Visalia, Ceres, Modesto, then, not now. It was actually, I lived in a very diverse neighborhood. There were blacks, there were Mexicans and there were whites and the whites were not rich. They were like the rest of us. They were poor from Oklahoma. So probably the first social, I would consider this first social justice consciousness that I developed during the 19 50s and 60s when I was growing up. In addition to following what was going on and unfolding with the Black Civil Rights Movement in the South, was that Stockton Unified was impacted by school desegregation and there was busing. So there was a lot of talk that kids from our high school in Franklin were going to be bused to Stagg High School. And at that time, in the 50s and 60s, Stagg was all white, they were all wealthy, and we basically protested, said, we are not going to go, that we're not, we don't need those rich white folks. We're okay by ourselves. So that kind of built a consciousness in me. And I would say the other big social justice consciousness was really actually during college, when many of us protested against the war in Vietnam. We marched to the Oakland Army Induction Center in Oakland. We had a sleep in, in the old student union on the college campus. We didn't get arrested like the kids are being arrested today who are protesting the atrocities in Gaza. During my last year in college, There wasn't anything known as Asian American Studies, but there were enough black students who wanted black studies on the campus. So, we just joined in and helped protest that there was an absence of black studies on the college campus. After I graduated from college, I knew that I was going to go into Peace Corps because I was inspired by President Kennedy. And it didn't make, truth be told, it made no difference what college I was going to go to. I knew I was going to go into Peace Corps, and that's what I did, because the last year I was in college, they offered Swahili, and I said, oh, that's perfect, I'm going to enroll in Swahili, and I end up going to Kenya for two years. And after two years of service in Kenya, you know, it kind of made sense for me to say, you know, if I can go halfway around the world to do public service work, I can certainly come back to Chinatown and do community work. And that's how I end up coming back to San Francisco in 1970. And then, The rest is whatever I did.  Female speaker: The rest is history.  Female Speaker 2: The rest is documented history.  Miko: We'll get into that a little bit more. Steve, what about you? What was your first kind of experience of recognizing social justice?  Stephen Owyang: Okay, so, Both sides of my family came to the U. S. a long time ago in the 1870s from Southern China. And they were in San Francisco until the big earthquake in 1906, after which point most of the family went into the Sacramento Valley. So I was born in Sacramento. I was raised in, down the river in the Delta. I'm really excited to meet you because my father had a small business back then and we went up and down Highway 99 all the time. So, Stockton, Lodi, Modesto, Merced, Kingsburg, Fresno, Hanford, Ripon, Visalia. And my father's business was basically delivering stuff to little mom and pop grocery stores run by Chinese families, mainly from one little county in Guangdong province. There was no I 5 back then, just 99, and you know, in the summer, as you know, it gets really hot. So it was a treat for me to go along with my father because I always got free sodas at every store, so I would go out with him and you know after six or seven sodas It was like, it was a great day. My first glimmers about social justice were just growing up in the Delta and I'll give you three stories.  It's the town of Walnut Grove, and the town of Walnut Grove on Highway 160 is one of the few delta towns that are on both sides of the river. There's a bridge that connects it. And on one side of the river, it's middle class and upper middle class and wealthy white families. Our side of the river, you had the folks from the Dust Bowl days, as Henry mentioned, people from Oklahoma and Texas who came out during the Depression. You also had a small Chinatown, a small J Town, a small Filipino area, a small Mexican area. And that just reflected the social conditions of California agriculture, because each one of those communities at one time was the main source of farm workers. And in fact, my own family, because of the alien land laws, they were farmers, but they couldn't own farmland, right? And so they were sharecroppers. Just, you hear about sharecropping happening in the South, but it also happened in California. So when I was growing up, three things. On the rich side of town, the white side of town, there's a swimming pool that was only open to white families. It was a private pool. You could only go there if you were a member. You could only be a member if you were white. The only way I could go there is if a friend who's a white, from a white family, who's a member, takes you there as a guest. So that's number one. Number two. My best friend was from one of these landed white families, and we were, we were very close. We were good students in elementary school. And then one day in the seventh grade, he, he takes me aside and he says, You know, I can't hang out with you anymore because my mom says I need to have more white friends. So he just cut it off like that. And I, that's the, that's, that's the truth. That's just how it happened. I guess the other thing that affected me back then was I used to go to a little American Baptist church and we had, I guess visits to black churches. And I remember going up to Sacramento on one of these visits and one of the kids there did Martin Luther King's, I have a dream speech from memory. And, it's like amazing oration. And I thought, wow, there's something. going on here that you sort of opened up my eyes to the situation in this country.  So basically until high school, I was a country kid, you know, but then we moved out to San Francisco and it was a big culture shock, big shock. So I was in, I basically came out for high school and this was in the late 60s and I remember it was 1968 when Laureen was on strike for, uh, Ethnic Studies and the Third World Strike in SF State. My high school was literally a few blocks away. I was at Lowell High. And students from SF State were coming over and leafleting us. I started reading that stuff and that's when I really got interested in what was going on at State and later on when I was at Berkeley, you know, in Ethnic Studies. So I think my grounding came from Ethnic Studies, the anti war movement, and, you know, I would love to talk to you about the whole thing about the Vietnam War because, You know, I'm guessing maybe your parents or grandparents were involved in the secret war in Laos, a war that the U. S. wouldn't even acknowledge happened even though we were bombing Laos. So it was ethnic studies, the civil rights movement, and the anti war movement that got me involved. In Berkeley, I was involved in some of the ethnic studies stuff. Even though I'm a fourth generation Chinese American, it's always been very important to me to try to learn the language so I was in the Cantonese working group. So I helped put together the curriculum stuff that was going on in Asian American Studies. I think before Germaine was there, or maybe around the same time. Yeah, I've known these folks for literally 50 years. It's kind of scary. So, um, I was inspired by what was going on at CAA, what Laureen was doing at SF State. So I joined CAA. Biggest mistake of my life. Because I saw this little ad in East West newspaper, used to be this community newspaper, and there was literally a coupon that you would clip out. And I sent in the coupon with a 5 check. It's like the most expensive 5 I've spent in my whole life. And then I went to law school, and I was involved in the law caucus and a number of other things, but my first job out of law school was Right here at CAA. Well, not here, but up on Stockton Street. Henry was my boss. You know, I feel like I would have been less burned out had we done some of this stuff. But we didn't do any of this. I remember my first desk had literally a door on top of like cardboard boxes. That was our office back then. And in one form or another, I've been involved in CAA ever since. I've been in a couple of organizations. Other organizations, but CAA is the one that's closest to my heart, and I'll tell you why. One, I met my wife here. And number two, I feel like the great thing about CAA is it's never lost its real community roots. I feel like other organizations do great work, don't get me wrong, but I feel like CAA has always maintained a real close connection to the community, and that's why everybody. I wrote that 5 check and, and several others. So yeah, that's, that's my story.  Miko: Thanks, Steve. Laureen, what about you?  Laureen Chew: Wow, this is amazing. Listening to everybody else's story, really. I guess I'll start pretty much how, my family was. My grandfather came in 1870s. I think I found out when I went to the roots program, which is only like five years ago, that was an adventure. so my parent, my father and his whole family was born here and born during Chinese exclusion. And so obviously they lived in Chinatown and nowhere else to go, even though they, my father and especially his, younger siblings. They all spoke English. Interestingly, his first two sisters were born here too. They didn't speak a lick of English because they never went to school. So what was really interesting for me, so I was born and raised in Chinatown. Okay. I wasn't born in Chinese Hospital. I was born in Children's Hospital, which everybody thinks is odd. But that's another story. My mother is actually an immigrant. She's a first generation, but she didn't come until 1947. So what's interesting is that I'm always kind of stuck between generations, like one and a half. But having a very strong mother who spoke only Chinese and my father's side, who's mostly English speaking. But a lot of them, my cousins or whatever, they were a lot older. They did speak Chinese also. But what's really stark to me is because growing up in Chinatown, you go to school with basically majority Chinese kids, right? And so you live in this community that on the one hand is very nurturing, very safe. Very intimate in a lot of ways. All my cousins and whatever are here. I mean, to show you how large my father's side was, when my aunt, the oldest aunt had her 50th anniversary wedding anniversary, she married when she was 14 because otherwise women, people forget. I I'm probably the first generation of women that either had a choice to not get married and I was still able to eat because I made my own money. Okay, my mother's generation, no, all her friends, no, you know, so don't take that one for granted either as women. So what was interesting was the fact that because she is very strong in being Chinese and then my father's side are total assimilationists, mainly, which was really interesting because many of them who grew up during Chinese exclusion. It was horrific, but you would never, I never heard one story. His family must have had over 300 people because his sister had 13 kids. Okay, then they had all had kids, one at 10, one of her daughter in law. So it was like huge. Growing up in this area, I just never felt I was different than anyone else because you don't come in contact with anyone that's really different until I went to high school. My mother is the immigrant. She wanted to send me to a school that was not a public school that a lot of the Chinatown kids went to, which was Galileo, because she somehow felt that I would be the kind of kid that would go not the straight and narrow, but more towards the the More naughty kids, to put it mildly, she knew that. So what she did was that she sent me to a Catholic school, okay, because she, God knows, oh yeah, she went to school for two years in Hong Kong. She's another story, she didn't have any money, and so she was given to an aunt to be raised. So she married to get out of Hong Kong because At twenty, she told me the only thing she told me was at twenty seven, I was considered an old maid. And then my father, who was, didn't have, there weren't very many women here because of Chinese exclusion, and he had to marry Chinese, actually saw my mom, and my mom's a picture bride, so they didn't even know each other when they got married. But she took over. My mom is like the queen of the family and the decision maker. And my father made the money and she spent it however little she had. Okay. And going to Catholic school was one thing that she felt that would help me become a good girl, except that I had never been to a where there were white kids. And so this school Was not only Catholic, but it was also a school that was considered kind of the, the best girls, Catholic high school. It was at the end of Chinatown. And that's the only reason why she wanted me to go there because I didn't have to take the bus. I can walk home. It's, it's a French school called Notre Dame de Victoire. So I went there and I thought I would have a really good time, just like all, all the high school. My problem was, was that. I was different, but never to know that you're different until you're in high school. Because you know, you know how mean girls can be in high school. And then they're all, it's an all girls school and it's a small school. And so my mom told me very clearly, you know, it's $150 a year. We really don't have that money, but. You know, we'll scrape and do whatever we can to send you through that. I said, Oh, okay, cool. Right. Except I had no friends. I mean, I was one of three Chinese girls in the school and I never knew how different I was until I got there because I used to get home perms, you know, permanence. And all the other girls had money. They were at least middle class, if not richer, and they all went to beauty parlors. My mom cut my hair and gave me the home perms, and she was into saving money, like I said, so she always kept the perm on longer than you should have it. I swore one year it came out like I had an afro, and I was so embarrassed. I made her cut it just to make it look straighter, but it was horrible. I don't have a picture. No, first of all, pictures aren't that common back then, you know, it costs money to have film and a camera. You didn't even have a camera. Yeah. So anyway, plus another thing is that because I wasn't the smartest Chinese girl either. Okay, the other two Chinese girls did pretty well. They were smart, and they were good in sports. I was neither. And I looked like a dork. Then what would made it even worse was that my mother spoke no English. My father did, but he might as well be absent because he slept during the day and worked at night. So we have things called mother daughter fashion shows. Mother, daughter breakfast. And I saw the way those mothers were dressed and I saw the way everybody acted and my way of dealing with it was I had no mom. I never brought her to the school. Any mother, daughter thing, I didn't go to. You didn't have to. I mean, that made me even less part of the school. And it was very painful because I didn't understand why I would be treated that way. Just because I looked, but I spoke English, it didn't matter. I did look a little weird, you know, so to this, I think it influenced me a couple of ways. One, whenever I had money, clothes was going to be my big deal. It still is, you know, it's kind of psychological. And then secondly, then that was a time that I figured out like, how come I don't, I hate myself and my family versus versus hating those girls. Right. I mean, that's how I dealt with it. It was, I call it a form of self hatred and it's, it's done by schooling. It's done by not only schooling in terms of omission about who we were as a people here, but omission about racism. Omission about discrimination and just about our histories here. But I didn't have a label for it in high school. I just, I really thought there was something wrong with me and my family. And that's the greatest danger about racism, is this form of internalizing it and not having a vehicle to deal with it. And there was nothing in our schools that dealt with it, you know, and I think what I came out of there realizing was that. Oh, another thing, I had mixed messages about what was happening because Martin Luther King was already on TV, and I was trying to watch it, and then I was still in high school, and my mom would, and my cousins, American boys, don't watch the black people. They're troublemakers. You know, all they do is make trouble, you know, they don't, they should be like us. We don't complain, right? We don't make trouble. And that's how you succeed. You succeed, I think, in my, what I was raised with, with the older generation of American born who had to go through this horrific history, you know, one, you don't get a job in Chinatown. You should get a job outside of Chinatown because it means that you're working for white folks and working for white folks is better than working for your own. So self hatred doesn't just run in yourself. It kind of permeates how we feel. feel as, as a group of people, right? And so, my whole thing was that I was looking for answers as to why, why I felt the way I did. And not only that, I wasn't the only one. That's what was interesting. And I didn't realize that until I went to San Francisco state, you know, because I was told, my mom said, you want to go to college, you're going to have to You know, find your way up to court because she, you know, she spent that on my fabulous high school education, which I came up miserable and, and I would tell her I want to go to Galileo. I want to go there. She said, no, you're not going to go. I said, she goes, what is wrong with you? Because I started crying certain times and she would just say, well, you're going to school to learn, not to make friends, so forget about it. I'm giving you the best with best intentions. But then when I went to college, this one girl who grew up in South City, similar experience because South City was all white back then. So she said to me one day, she was, she's Chinese too. And she says, you know, there's a meeting there that's huge. The people are talking about all this stuff. We talk about how we were mistreated in high school and how people are blah, blah. There's a name for it. It's called racism. I was called what racism. Okay. She goes, you want to go? I said, well, who's there? She said, black people. But I said, Oh, my mom would kill me. I mean, I was really worried because my mom doesn't even know what I do at state. So I went. I think that time we had some pretty interesting people. One time there was Eldridge Cleaver, who was the head of the Black Panther Party. Um, there were people like Carlton Goodlett, who was from the Bayview Hunters Point, who had certain people from the mission. They were all kind of leaders of different communities. There was Yuri Wada, who was a Japanese American. He was very prominent in dealing with civil rights. Chinatown, I, George Woo, George Woo is an infamous person also. He was the spokesperson for gang kids in Chinatown. He was very, very, very alive and took over in terms of the whole thing about the youth problems in Chinatown. So he was not part of this group, but just hearing the stories of these other ethnic groups that were very similar, not the same, but this whole thing of like just being dissed for the way you look, the way you speak, and supposedly your values. And my whole thing is that, that thing opened my eyes to the extent that helped me to release a lot of my anger towards something I didn't know who to be angry at, right? So you have to, I felt that the San Francisco State Strike, I mean, I was all in and with a small group of Chinese that were there, including Mason, all these people. And we had to really open our eyes to working with other people that were not like us. And what was more interesting for me to see was that every single group said that if we're ever going to have classes on ethnic studies, a key part of those classes should be why we are getting an education. And why we're getting an education primarily is to serve our communities. So there is a real strong component to ethnic studies that was community based. And because of that, during my college years, I actually came back, I mean came back, I was still living in Chinatown, but I actually placed myself in the Chinatown that I knew nothing about, which is our issues, our problems. And during my time, it was mainly about youth problems. We had a gang problem. We had girls that were on drugs. We had immigrant kids that didn't speak any English and just thrown into schools nilly willy without anybody helping them. So I was lucky enough for three years or four years during college that I worked as a house parent for runaway girls. I worked trying to tutor immigrant kids, you know, and I was trying to become a teacher. So those formative years, in terms of just having my feet in different things really showed me that, you know what, I don't want next generations of people who kind of look like me to have to go through the struggle of hating myself. Because of things that are my home, that are based home base, you know, this country, this is what I feel that very strongly about the United States, that I think people are losing sight of, especially now that we're all in very ethnic silos. This country is very different in the sense of just the whole fact of different groups mixing, you know, you go to China or whatever it's still basically you. you're Chinese, even in my north, south, pink, whatever direction you are. It's still basically Chinese, but in this country you can come from different areas and different places of the world and still have a vision that ties you together. That should be a singular vision, which is a democracy at this point. And then also this very simple statement of justice. And equality for all. We sometimes forget about the all, if we're just kind of in our little silos. But I think that's the reason why, from state on, and reacquainting to my community, it was life changing. Whatever job I took after that, whether I was a teacher, a faculty, associate dean, chair of the department. My main focus was that I'm here for the students and the people, quote unquote, who are here with me that have this similar vision, that we all have a place here. And in order to, for us to really respect others, we have to respect ourselves. And that includes what we're raised with in terms of our values and also our history here. Miko: Thanks, Laureen. Germaine?  Germaine Wong: Oh. well, my experience is similar to many of yours and a little bit different. I grew up in Oakland, Chinatown, and Went to a school that was only three blocks from where I live. And the school was Mexicans, blacks, as well as Chinese. Although I would say maybe half the school, at least half the school was Chinese. And I didn't, I didn't speak any English until I went to school, so I had that experience too. And then, my father was always very upwardly mobile, wanted to live the white middle class life. And I didn't know it at the time, but, he managed to buy property in Castro Valley, Southeast of Oakland. At the time, they wouldn't sell to Chinese. So he got somebody at work to buy the property for him. And then sold it to my father. That's how we got to move there. So I started high school in Castro Valley. I was the only non white in the whole school. The janitors, the cafeteria workers, everybody was white. I was the only one in that school who was not white. But I'm a little bit more dense than all of you, so I was not aware of whatever racism there was. At that time Castro Valley was really white. And also very affluent. So most of my classmates. It's unlike in Oakland, Chinatown, these classmates, they were children of doctors and lawyers and engineers and dentists and most of the people in my high school, they, the kids either had horses or cars. At that time, Castro Valley was not the suburb it is today. Our neighbors, for example, our next door neighbors had chickens and goats So it was really different. So it was all so different from Oakland Chinatown. And then I finally experienced some racism the following year when a black family moved in and somebody really literally did burn a cross in their front lawn. Wow. Yeah. And she was in the same grade I was in, one of the daughters. And then another Chinese girl moved in. And I recognized her, but we were never friends in Oakland Chinatown. And that's where I first experienced reverse discrimination. Because I met the stereotype of an Asian student, right? So I did well in math and all the classes. Well, she was definitely a C student and the teachers treated her as if she was an F student. Teachers just expect us to excel in our classes. So that was my first, really, where it hit home for me. And then in the 50s, in Oakland, Chinatown, I experienced what Henry did during the confession program. So my mother was going through all these things. These are your aunts and uncles and these are not your aunts and uncles. And so if any white person comes and starts asking you about your family, just remember these people are not related to you because all of us had paper names. Like I'm not really a Wong. My family's really a Kwan. But in my situation, I had a great grandfather who was here legitimately. And then the next generation, when they went back, they decided we're never coming back to the United States. So they sold their papers. So then when the next generation decided to come back, they had to buy papers. So my family went through that situation. I had jobs where I lived in, during college, I, I had live in jobs, I lived with a family first when I was going to UC Berkeley, and then later on when I transferred over to San Francisco State, I worked for an older white woman, and so I, I got to see what upper white middle class families lived like, and then with this older woman that I lived in with here in San Francisco, what the rich people lived like, so that was kind a different world. And then somebody asked me to work at the Chinatown YWCA here. And I got to experience San Francisco Chinatown then. I was assigned to work in a pilot program where I worked with third grade Chinatown girls. One group were immigrant girls who lived in the SROs here. They literally are eight by eight rooms with a whole family lives in them. And the kitchen and the bathrooms are down the hall. So that was the first time I had ever seen people living like that, in such crowded digits. And the other group of girls I worked with, again, were middle class, upper middle class Chinese girls whose parents were doctors and dentists and like that. And the woman who was the executive director was a Korean American woman named Hannah Sir. And this was all when I went to college when President Kennedy was assassinated and then Lyndon Johnson became president. And so it was during this time that this Korean American woman said to me, you have to apply for this program because right now, President Lyndon Johnson only thought about blacks and Hispanics who needed help. And we really need to get Asian Americans in. So she convinced me to apply for program and some miracle happened and I got into the program. After I went to that summer training program, I came back here to San Francisco and I was assigned to work in the Bayview, Hunters Point, and Fillmore areas of San Francisco working with black gang kids. That was a new experience for me too. Then from there, then I went to grad school, then when I came back, I got assigned to working here in Chinatown, where I worked mainly with immigrant adults looking for jobs as well as the gang kids, both English speaking as well as Chinese speaking. And, from there, I met people like Ling Chi Wong and Eileen Dong. who were already working in Chinatown before I was. And that's when we got together and Ling Chi was actually the organizer, the lead person. And, we started CAA. So all of us had other jobs. We had full time jobs and so we were doing this kind of on the side. I think Ling Chi was the only one who didn't have a job. He was a graduate student. And I want to tell you, he was a graduate student in Middle Eastern ancient languages. That's what he was studying at UC Berkeley at the time. And, uh, but all the rest of us had full time jobs. We started CAA as a volunteer organization. We had no office, no staff, no money. And that's how we started. And eventually I first met Laureen, who really helped us out with one of our first major projects. Teaching English on television, remember? You and Helen, yes. You and Helen Chin really helped us out. Laureen Chew: Okay, nice to know.  Germaine Wong: And then I remember meeting, and then when Henry came to Chinatown and his Swahili was better than his Cantonese. Wow. Yes. Wow. Anyway, and I met all of these good people and CAA continued to grow. And there still is. Yep. Amazing, amazing story.  And that wraps up part one of this incredible intergenerational conversation. Between the OGs of Chinese for affirmative action. And the young organizers of mung innovating politics. Tonight. We got a glimpse into the powerful stories of CAS.  Of CA's founders.  Their hardships resilience and what drove them to commit their lives to the movement. Their reflections, remind us that the fight for justice is not just about the moments of triumph and the victories, but also about the struggles, the sacrifices. And perhaps most importantly, the. Vital importance of being grounded in our communities and our values. Be sure to join us next time for part two, where we'll dive into the dialogue between. Seasoned OJI leaders and today's. Today's youth Changemakers from Monday innovating politics. Together, they'll explore strategies, how strategies have shifted over the decades and how we can sustain our work for social justice in the longterm. As always thank you for tuning into apex express. For more about Chinese for affirmative action and mung innovating politics.  Please do check them out on their websites, which will be linked in the show notes. At apex express. At kpfa.org/apex express. Until next time. Apex express is produced by Miko Lee, Paige Chung, Jalena Keane-Lee, Preeti Mangala Shekar. Shekar, Anuj Vaidya, Kiki Rivera, Swati Rayasam, Nate Tan, Hien Nguyen, Nikki Chan, and Cheryl Truong  Cheryl Truong: Tonight's show was produced by me, cheryl. Thanks to the team at KPFA for all of their support. And thank you for listening!  The post APEX Express – December 19, 2024 – Bridging Generations appeared first on KPFA.

A note about the poem “For Girls Who Talk Too Much at Lunch” from Steffi Sin for the Michigan Quarterly Review's Summer 2024 issue: My poetry collection For the Ones Who Grew Up In Hong Kong Style Cafés is comprised of twenty-six sonnets, all set in San Francisco Chinatown's now-closed ABC Café & Restaurant. Each poem is a vignette of a meal the narrator experiences, and the use of Anglicized Cantonese represents the fluidity of language for bilingual speakers, playing with Cantonese-English rhymes and homophones. “For Girls Who Talk Too Much at Lunch” is about the disconnect between the narrator, who is trying to comprehend the violent history of Chinese in America she's learned in school, and her immigrant father, who doesn't have the mental capacity to discuss these issues because he's preoccupied with the family's financial struggles. The poem is titled as a commentary about the double-standard for daughters. Oftentimes, when women speak up, the people around them don't listen, and their words are dismissed as drivel, as foolish, and they're told they're disconnected from reality. Education is perceived as a road to success, towards the illusion of the American Dream, but when women use their education to question the norm, education then becomes an instrument spoiling their minds. The lines that break from the established rhyme scheme then represents the narrator's persistence in challenging these constraints.

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Tonight on APEX Express, Host Miko Lee speaks with artivists from the upcoming exhibition at Edge on the Square opening this Saturday June 29 and running through February 2025!   TRANSCRIPT Walking Stories: Artivists POV   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 Lee: [00:00:34] Good evening this is Miko Lee and welcome to Apex Express. We are so happy to have you with us. We are going to be talking about something really personal to me tonight. We are talking about the new interactive exhibition at Edge on the Square in San Francisco, Chinatown. The whole exhibition is called Walking Stories and it is stories from our Asian American community. And we invite you to join us. It opens June 29th and runs all the way through December. Opening night, June 29th is going to be interactive performances and amazing little goodies so we really invite you to join us for opening, but if you can make it that night, we're running all the way through the end of December. Okay, so a little bit of background. Some of you might know that I have been a host on Apex Express for the past seven and a half years, and it has truly been a delight and a joy. As part of that time, I learned that Apex Express is part of a network of Asian American progressive groups. That's called AACRE, which is short for Asian Americans for Civil Rights and Equality. And about two and a half years ago, I joined the staff of AACRE, which has been such a joy to be around colleagues that share the same values and passions and beliefs in supporting and uplifting our community. For the past year, we have been working on a narrative strategy, really trying to reframe how Asian Americans are portrayed in the media, how we're perceived within our own community. We were initially going to do this with the Pacific Islander community as well. But in talking to our sister colleagues, they are going through their own process of a PI narrative strategy and I totally respect that. At some point we will merge and join those voices together. So right now we're focusing on Asian American stories. Through the past year through wonderful funding from San Francisco foundation's Bay Area Creative Corps we were actually able to fund approximately 37 different artists and embed them in different AACRE groups to be able to create narratives that resonate with their own communities. So that in this exhibit Walking Stories, we're going to hear stories about Hmong folks and formerly incarcerated folks, folks that are queer and trans and folks that have stories to share, because we all have important stories to share. Our exhibit is inviting folks to think about how they can get involved, how they can share their own stories, how they can join us in this collective movement for rewriting our history of the kind of silent, quiet model minority that sits in the background that's used as the wedge issue for larger things like reparations and affirmative action and really reframes that and brings back our Asian American activist past because we know that is who we are. That is our history going back from the first time that we came into this country. We invite folks in the community to join us to see more about who these stories are, to find out, to get involved to see what resonates with them and even what doesn't resonate with them. But really join us in this conversation. So tonight I'm really pleased to be talking with just a few of the artists that are in Walking Stories. So that you can get some insight into their process and how they made the piece that they're going to be sharing.   The exhibit itself will be at Edge on the Square in San Francisco Chinatown. When you walk in, you are going to see this timeline of lanterns hanging from the ceiling. That's about an Asian American activist history. You're going to see a really cool, nourishing power piece, which we're going to talk to the artists about, that is about how potlucks were used as a tool for queer and trans organizing. You are going to learn more about Hmong dance. And what does that look like, and what does it feel like in your own body? You're going to learn about ancestors, the power of our ancestors and how we can bring that to help us in our healing and moving forward. You're going to see in the exhibit about a Hmong story cloth reimagined with a modern perspective, you're going to see stories of south Asians activists and what they represent. And what does it mean to be a south Asian Muslim in America today? You're going to hear some of these stories. You're going to see them. We hope that you'll experience them. Then we hope that you'll learn more and find out about what we're doing and how you can get involved. So join me on this little journey through some of the artivists—that's artists that are also activists—that are part of our exhibit called Walking Stories. Come board. Join us. Welcome Hà Trần to Apex Express. We're so happy to have you with us. Trần Châu Hà: [00:05:40] Thank you for having me.   Miko Lee: [00:05:41] So you are amazing artist, but I want to start and go back and for you to tell us who are your people and what legacy do you carry with you?   Trần Châu Hà: [00:05:52] Ooh, oh my god, that's such like a big question. I guess my people are the people at Asian Prisoner Support Committee. I come from like a lineage of like Vietnamese refugees, and I think about like the ways that our communities have been impacted by the legacy of imperialism, which includes like incarceration, deportation, and things of that nature. I would say my community are folks who are impacted by, those kinds of pipelines and violences, Southeast Asian folks broadly.   Miko Lee: [00:06:14] And what legacy do you carry with you from them?   Trần Châu Hà: [00:06:18] I think the easy answer is like resilience clearly. To exist and survive under so many different violences and still move forth and create such beautiful communities.   Miko Lee: [00:06:25] Hà how did you get started working with Asian Prisoner Support Committee?   Trần Châu Hà: [00:06:29] It actually started from an interpersonal relationship. My best friend who also works at the organization now. They actually explained to me that a APSC was doing all this work in regards to like stopping the prison to deportation pipeline, how like so many of our Southeast Asian American community members were impacted by this kind of incarceration and things of that nature. At that point, it just became my political home after many, many years.   Miko Lee: [00:06:50] Thanks for sharing that. Then tell us about the work that you have in the new exhibit that is opening up called Walking Stories. Can you tell us the title of your piece and then describe it for us?   Trần Châu Hà: [00:07:01] The piece I'm making is a comic called We Was Girls Together. It's a quote from Sula by Toni Morrison. The comic is about my friend Maria Legarda. She's a re-entry coordinator at the Asian Prisoner Support Committee. She's also a Filipino immigrant who's facing deportation to the Philippines now after she was incarcerated in CCWF for 14 years. We met each other through APSC I know her as a very generous and kind person who loves crocheting. She's always been like an extreme light every time I come to the office and interact with her. But I also know that Maria is like someone who frankly, knows all these like incarcerated women or like formerly and currently incarcerated women. She really shows me what it looks like to be, like, an abolitionist feminist despite the kind of struggles and difficulties that she's moving through as someone who's literally currently still facing deportation because of her quote unquote, deportable offense. My comic is about Maria Legarda. It starts with like her story, her migration story from the Philippines. She was born under the Marcos regime, which basically socioeconomically destabilized the Philippines. She came to the US for economic opportunity. But clearly she had a really hard time adjusting, and then eventually she made some choices that led her to a federal offense that led to her decades of incarceration. When she was in prison, she met all these, wonderful women of color who also were survivors of sexual and gendered violence, so I just follow her story through her healing. Despite the fact that she's healed so deeply and she's shown so much care to other people and she has these communities she still is deportable to a country that she hasn't been to in 30 or so years, and doesn't consider home anymore.   Miko Lee: [00:08:27] Share with me a little bit about how zines are your choice of art medium?   Trần Châu Hà: [00:08:32] I love the nature of how like accessible they are. I think I kind of started out as an illustrator and an essayist separately. But then I realized as I was like writing essays I couldn't necessarily share those things immediately with my mom. She's not super fluent in English, right? But like when I combined the medium of illustration and writing into creating a comic in a zine, I could show that to my mom and even if she can't fully understand all the writing she could still access, like the actual medium. And then the form of the zine is something that is meant to be taken away. It's meant to be shared with other people. I started going to a lot of zine fests last year and it just made me realize like, oh yeah, I want all my stuff to be accessible, right? Like I don't want it necessarily to be underneath a pay wall or things of that nature. I think there's something like, you know, for lack of a better word, very like, democratic about zine making, and as well as, comics generally.   Miko Lee: [00:09:20] I love how you do the mom test.   Trần Châu Hà: [00:09:22] Yes. It's funny, I wrote, an essay about my grandmother, actually, in the Asian American Writers Workshop like 2021, and I had to literally translate the entire thing for her to read it to make sure all the details were right, and I was like, wait, I could have just made this easier by like illustrating some of it to make it accessible across language barriers and things of that nature.   Miko Lee: [00:09:40] And has Maria read through the scene?   Trần Châu Hà: [00:09:42] Yes, she has.   Miko Lee: [00:09:44] What has been her take on it?   Trần Châu Hà: [00:09:46] She actually sent me a very long signal which like made me cry because I was like, oh my god, I can't believe she actually thought this about the work. She was talking about how it helped her reflect on everything she's gone through but also like these relationships that have really sustained her. Namely like, I mentioned this person named Granny in the comic who I've met who's essentially like the person who adopted Maria when she just became incarcerated and was dealing with the fallout and trauma of sexual violence and things of that nature. The comic reminds Maria of just her growth essentially over all these years, but also all these rich relationships that still continue to sustain her like across carceral walls and things of that nature.   Miko Lee: [00:10:17] And what do you hope people that come and see your work and take one of your zines, what do you hope that they walk away with?   Trần Châu Hà: [00:10:25] The obvious answer to the question is, like, how cruel the prison to deportation pipeline is. For someone to build such wonderful communities in the United States and for borders being so arbitrary and things of that nature that they can be stolen away from these communities at any point, and how cruel and unnecessary that all feels for immigrants and refugees who have been criminalized to experience this kind of double punishment. I think the other element of it is the ways that women, specifically currently and formerly incarcerated women create these networks of care amongst each other that, in light of the state not supporting them and their healing, whether they've experienced gendered or sexual violence, these people will find each other, these women will find each other and they'll be able to support each other and help each other through these processes of healing and also like fighting sexual violence in the carceral system. Yeah, just like highlighting those kinds of like organic networks and that relationship building that we don't necessarily get to see in like, for example, like mainstream media or like policy making or things of that nature.   Miko Lee: [00:11:18] What will people see when they walk into the Rdge on the Square exhibit space?   Trần Châu Hà: [00:11:23] Yes, you will see 15 comic pages in acrylic frames and then underneath that will be a table with actually takeaways. So feel free to take the comic away in like a booklet form as well, but you can also read it out on the wall when you walk in.   Miko Lee: [00:11:35] Thank you so much for sharing with us about your artistry and your vision and your story about Maria and your connection with Asian Prisoner Support Committee. We look forward to seeing your work.   Trần Châu Hà: [00:11:45] Thank you, Miko. Pleasure speaking with you.   Miko Lee: [00:11:48] Next up, listen to “Staygo” from DARKHEART, A Concert Narrative by singer and songwriter Golda Sargento.   MUSIC   That was the voice of Golda Sargento from the new Filipinx futurism punk rock sci-fi DARKHEART. Katie Quan, artist, activist, ethnic studies teacher. I'm so happy to have you on Apex Express. And the first question I want to ask you is, who are your people and what legacy do you carry with you?   Katie Quan: [00:16:51] I would say that my people, I really strongly identify with Asian American movement artists, makers, and shakers from like the 60s and 70s. It was my first introduction to really seeing Chinese Americans be out there and be really vocal, be excited, and be loud and angry about all these different topics. And so I've really gravitated towards just all that excitement, all that energy over the past decade just after learning more about them. I really just enjoyed seeing what that looks like and how we can continue that energy, especially for East Asian Americans here in the States, as we move into a new generation of game makers.   Miko Lee: [00:17:38] Tell us about how you carry that legacy of feisty activism into your work as an artist.   Katie Quan: [00:17:44] I like to consider myself a legacy of the Asian American movement. My grandparents came here in the 30s and 40s. I also have great grandparents and great great grandparents who traveled between the US and China, back and forth, back and forth and so I find myself really attached to their stories as well as how they've overcome a lot of those obstacles that Chinese Americans had to face during that time frame. My parents are both second generation Chinese American. They met at Self-Help for the Elderly, which was a organization that came from the Asian American movement in terms of making sure that our elderly are actually taken care of and have culturally relevant care. My parents were very much interested in enrolling us into bilingual education. Bilingual education was not a popular educational pedagogy at that point, partly because people thought that if you learned another language that was not English, that you would lose your Americanness in a lot of ways. And so one of the things that I really like to bring into my art is making sure that legacy and that history is always challenged and always, it feels relevant to where we are now, but also can meet other people where they're at. I do understand that not everyone gets to have a lot of those kinds of privileges where they see themselves, in their role models or that they didn't grow up around the history, I understand that that's the case. And so making sure that the work that I always produce meets people where they need to be at, is something of interest and something that I carry with me in all my work.   Miko Lee: [00:19:32] Thank you, Katie. Can you talk about the work that you have been doing with Chinese for Affirmative Action and tell us about the reparations zine that you've been developing?   Katie Quan: [00:19:43] Me and a team of other artists, academics and activists have been working to make a reparations zine alongside Chinese for Affirmative Action. Here in San Francisco reparations is still a very contentious issue. So one of the things that we're trying to really bring about and inform, especially the Chinese American demographics, is what reparations are and how we can support the work that black communities need and what they're doing at the moment. Within the zine, we are really covering what reparations are, how African Americans in San Francisco have contributed to the making of the city and also the Bay Area, how their community has been bulldozed in many, many ways, whether it's through health, environmental justice, redlining, all of these different issues. What's happened in the past 50, 60 years reparations is that first step in terms of saying sorry and, how can we begin to mend this wound that the United States has created consistently over time with this particular population.   Miko Lee: [00:20:54] What has surprised you about this process?   Katie Quan: [00:20:58] It's hard. [Laughs] And not that I didn't think it wasn't going to be hard. But I think the team that we've been working with, we've been really fortunate because we have some, second, third and fourth generation activists and artists, but we also have a team of other people who are new immigrants, and we've been really fortunate to learn from their perspective. And so rather than approaching it in a lens that talks about anti-blackness, sometimes it's talking about what it means to be American. And how do we participate in democracy? It's bringing a very positive spin, or just kind of a different spin to topics that we already know, and then that we talk about all the time, but making sure that it's accessible to everybody.   Miko Lee: [00:21:46] So this zine is going to be available for free in the Edge on the Square exhibition. Can you talk about what people will see when they walk into the exhibition and see your work? What are they going to see? What are they going to experience?   Katie Quan: [00:21:59] Yeah, we are hoping to make sure that our exhibition is big and it's bold, but at the same time it feels simple in its messaging. Asking people a little bit about what they know about reparations, being able to challenge their own thinking of what they know about black communities here in San Francisco, what they've done. Also talking about how we ourselves get information, how do we learn the things that we know and how can we challenge that? Or how can we push that forward? And so we will have an interactive element, but we will also have the zine there available, which will be created both in English and in Chinese for anybody who needs it. We will also have additional resources via QR code so that if anybody has any other questions or want to learn more about it, want to act on their excitement for this particular issue that they can also do so.   Miko Lee: [00:22:58] And what do you hope that people will walk away from your after taking away your zine after seeing the exhibit? What are you hoping that they will learn or or do after seeing your work?   Katie Quan: [00:23:10] One of the things that we kind of came across when creating the zine is that people had very strong opinions about reparations. They didn't always have all the information, but they had very strong opinions and they had very particular beliefs that come from their own life experiences. Our goal for this is not necessarily to persuade one way or the other, but it's to make sure that they're informed and just making sure that they have all the facts so that they can make a decision that best suits their own life experiences. We're also hoping that people walk away feeling like they know a little bit more and that they can share that with their own communities in a way that makes sense for them.   Miko Lee: [00:23:51] Katie Quan, thank you so much for joining us on Apex Express.   Katie Quan: [00:23:54]Yes, thank you so much.   Miko Lee: [00:23:55] Next up, take a listen to “Live It Up” by Bay Area's Power Struggle.   MUSIC   That was “Live It Up”by Bay Area's Power Struggle. Welcome Tsim Nuj to Apex Express.   Tsim Nuj: [00:27:32] Hi, Miko. Thank you so much for having me today.   Miko Lee: [00:27:37] Can I start with just by asking you, who are your people and what legacy do you carry with you?   Tsim Nuj: [00:27:46] Who are my people and what legacy do I carry with me? My people are Hmong. My ancestors were living in northern Laos, in the mountains and in the jungles and farming. That's where my lineage and then my ancestors had to flee their homes because of the Vietnam War and the secret war in Laos to find refuge in Thailand and then now we're here in the US. specifically in Merced, California in the Central Valley on indigenous Yokut land. So yeah, that's my, those are my people. I think that my community here in Merced that I organize with, who are also queer and trans folks of color are also my people. And I think that the legacy that I carry is this legacy of, I carry this legacy of love. I think that in moments of having to find home and having to survive, I think that love really grounded my people and my people's families. And so I think that I'm really holding onto this act of loving. That I think really grounds me and really affirms who I am and the journey as I honor my ancestors. And I really, as I think about the descendants, right, my descendants, the young people who are a emerging and, you know, the future generations that are coming. And so I think that there's this really special moment where I feel like I'm really longing to connect with my ancestors, especially those who were queer and trans, my queer and trans Hmong ancestors. And I've been also connecting with my descendants. And then I think that there's also this present moment, right, where I'm also connected deeply with my community, who consists of being children of immigrant refugees, you know, queer and trans folks, and folks that are really reimagining and really fighting for a world where we can all be liberated and be our full, authentic, genuine, loving selves.   Miko Lee: [00:29:58] Thank you for sharing. Your art form is as a dancer, as a movement person, and you've created a video for the Walking Stories exhibition. Can you tell us the name of that video and what inspired you to create that?   Tsim Nuj: [00:30:14] I feel really honored to be a part of the Walking Stories exhibit, and this is actually my first exhibit that I get to be a part of and share my work in and so it feels very exciting and it feels very, like such an honor that I get to be a part of this project that's a collection of works who the artists and yeah, the folks that are a part of this are just such like incredible, brilliant beings, sharing our stories. And so my dance video The title of it is Our Queer Hmong Love Dance. What really inspired this piece was this idea of being home, right? And this idea of belonging. There's, there's so much ideas that came up for me. And I think that these ideas were coming up because of a recent transition. Last year, around this time, actually, I graduated from UC San Diego, and I was coming home, right, after five years. And so I think that this piece is really about connecting with my roots and finding home specifically in Merced and in the Central Valley. And really trying to think about who I am as a Hmong person. But it was also about who I was as a Hmong and queer person, right? A queer and Hmong person. And so I started to think about these rituals or these sounds and these movements that I really needed to explore. And so a lot of that exploration and that work. I got to practice and be in process and I think it's really what I needed in this moment. And so I'm really grateful I'm really grateful that I get to share it with my community and I'm really grateful that I get to share with my community and the folks that come and see our exhibit and I really I'm really hopeful that folks will resonate with it and really get to just witness me.   Miko Lee: [00:32:14] And so folks will come to the exhibit, they'll see all these different works, they'll see a booth that will have your film playing in it. Is there something that you want to have your audience lingering with or thinking about after they watch your work?   Tsim Nuj: [00:32:30] Yes. I really want my audience, the folks that come to the exhibit, feel invited to witness my piece, my video in the booth. I want them to allow themselves to really feel, right, whatever they're feeling, whatever is coming up for them. Whether it's the sounds that are guiding them, whether it's the visuals, right. Whether it's, you know, there might be some words or some images that come up, and I really want the audience to just really be with their bodies. Be with their minds, their spirits, right? And I, I hope that they allow themselves to just feel it. And I, I remember having a conversation with you Miko about this like meditative presence. And so I'm hoping that my audience or the folks that come and witness the entire exhibit, right? I hope that they are curious, and that they really allow themselves to just be with the work, whatever that means for them. I don't want to tell people how to watch my work, right? But I do want them to just really, be with it, right? And, and if you can, I hope that you'll be able to watch it for its entirety. I think that there's something really beautiful happening, with how I have put this video together and so I hope that you can be with it. Take the deep breaths. Take those breaths, right, pay attention to the sensations that you experience in your body.   What I want the audience to take away from after seeing my piece, I hope that they get to receive it and that they breathe it in and they're with it, right. And that they really see me and see the people that are in this video. And I hope that they see parts of themselves in it, and parts of their stories and their journeys. And I also really want them to think about these questions that I propose and that I ask, right? That I'm also asking myself. This piece is a dedication, right? I think that I'm creating this piece for my ancestors. I'm dancing for my descendants, and I think I'm also asking them, I'm in conversation with them, right? About where is home? Especially for folks who have been displaced, because of very violent histories of war and persecution and having to flee our homes, right, and survive all that, like, thinking about our indigenous relatives here on Turtle Island and thinking about Palestinians in Gaza. I think that, there's in this moment, this piece, I do ask, and I am trying to find this home, this idea of going home. And also how do we dance there, right? Like, how do we dance towards home? And so what is dance for us? I'm just really inspired by, black queer and trans feminists, specifically Prentiss Hemphill, and just the conversations that Prentiss has shared on their Spotify podcast, go and check it out. I think that this piece is also about remembering and honoring the folks who have come before me and the folks that will arrive after me.   Miko Lee: [00:35:32] Tsi Nuj, thank you so much for sharing your story. And we look forward to seeing your dance piece in Walking Stories.   Tsim Nuj: [00:35:41] Thank you so much, Miko, for your time and for creating the space for me. Yeah, I like, I think there's a lot of excitement that I feel in my body. And so like, I want to talk about the work, but please, please, please, for whoever is listening, come and be with us. Come and experience our work and be in conversation with us. I think it's really important in this moment for us to uplift one another's voices and really affirm each other's stories. When we think about collective liberation, it really is doing this work, right? Of thinking about what is collective care and collective love look like, how do we lean into our creativity, our ancestral technologies and practices to really make meaning of how we show up in this world, right? And to really empower us, right? To, you know, continue showing up for one another and because we know that this work is lifelong. Healing and, you know, really creating this world where we are all free. I hope that the folks that are listening to this and the folks that come to the exhibit and everybody, right, I really hope that we can feel how important it is for each one of us and all of us to be in this movement towards the liberation of everybody, right? Because our liberations are, are so deeply intertwined and connected. So thank you.   Miko Lee: [00:37:04] Thank you so much. That was great. Let's take a listen to one of Byron Au Young's compositions called “Know Your Rights.” This is part of the trilogy of the activists songbook. This multi-lingual rap gives steps to know what to do when ICE officers come to your door.   MUSIC   That was “Know Your Rights” performed by Jason Chu with lyrics by Aaron Jafferis and composed by Byron Au Young. Welcome Visibility Project and Related Tactics to Apex Express. I'm so happy to have you all with me this evening, and I would love to just ask you all the question I love asking for people, which is what is your story? What's your background? And what legacy do you carry with you? And let's start with Weston.   Weston Teruya: [00:40:12] I am a Japanese American and Okinawa American from Hawaii. I identify as an Asian American and person of color, and I draw on the histories of cross-racial solidarity between communities as a strategic alliance and community building effort for justice.   Miko Lee: [00:40:34] Thanks, Weston. And Michelle, how about you? Who are your people and what legacy do you carry with you?   Michelle K Carlson: [00:40:41] Hi, thanks, Miko. I'm Korean American. I grew up in Seattle, Washington and spent most of my time on the West Coast. I, similar to Weston, operate in a realm of cross racial solidarity, linking myself often to histories of racial solidarity justice movements. Weston and I are representing Related Tactics, which is an artist collective that also anchors itself within these histories of cross racial solidarity. We make all sorts of artistic works at the intersection of race and culture.   Miko Lee: [00:41:18] Thanks, Michelle. And finally, Mia Nakano, who are your people and what legacy do you carry with you?   Mia Nakano: [00:41:24] Thank you so much for having me here. I'm Mia Nakano she/her pronouns and I'm the executive director of the Visibility Project. I am a queer fourth generation Japanese American woman. I am the daughter of a single mother and the sibling of a deaf adult. And I think that all of those relationships and intersectional identities bring forth all of the work that I do. And so I think about queer ancestors, I think about accessibility in the deaf community, I think about all of the really powerful women that have been incredibly present in my life to shape who I am today.   Miko Lee: [00:42:10] Thank you, Mia. And you are two different groups of artists. One is Visibility Project. The other is Related Tactics. Can you share with us a little bit about how this collaboration came about?   Mia Nakano: [00:42:22] I was invited to participate as a contributing artist in one of Related Tactics' very first shows back in, I believe, in 2016, and have been following their work as a growing artistic practice and a collective for quite some time. I've always been thinking about how could the Visibility Project as a queer led, you know queer, LGBTQ, archiving and organizing artistic practice collaborate with this cross racial, very intersectional, collective in Related Tactics. One of the ideas that has sort of been percolating for me over a long period of time was that so many queer Asian American organizations and so many queer spaces have all come out of the idea and like the gathering around potluck spaces, right? So potlucks being safe spaces for queer folks, for folks of color, for marginalized communities who didn't have safe spaces to gather. And many queer Asian organizations started off with potlucks that then turned into social and political groups, which then shifted into political advocacy and culture change, and then ultimately like legislative change. And I saw such deep connections in terms of how I see related tactics and experience related tactics. It's building roots and planting seeds for multiple relationships and collaborations through the different intersecting ways that our communities have been able to come together over the past few years.   Miko Lee: [00:44:18] So how did this collaboration begin working on this concept around potlucks?   Michelle K Carlson: [00:44:24] This is Michelle from Related Tactics. The three of us have known each other for a long time and Mia and I have worked together in a lot of different capacities over the years. I think Related Tactics, at the core of what we do is coming together with this kind of shared belief and shared value system around collectivity as this really productive material and tool and method for creative action in the world. I think at the core of that is understanding that we don't have all the information and we don't like to be the only voice in the room and we are not the ones that necessarily should be telling the stories for everyone. Related Tactics, when we often get an opportunity, one of our common strategies is just to figure out a way to share that out and to bring more voices into the room to be in concert with our own. When we understood that the Visibility Project was also going to be a part of this project, we're like we should join forces and bring our communities together. And I think we've been looking for a way to do that over the years.   Miko Lee: [00:45:35] Talk to me about the title, Nourishing Power. Where does that come from? What is that about?   Mia Nakano: [00:45:41] I think because of the individual artistic practices, And the people who comprise Related Tactics, and myself at the Visibility Project, we are all so incredibly busy, that all of our contributions to our various communities, whether it's at universities, in social justice movements, in artistic organizations, we're all about cultivating the power of other people while putting artists into artistic practices and people first, right? Like you have to, put on your oxygen mask first before you're able to really step out and fully do the work that you want to be doing. And to do that, you have to nourish yourself, you have to nourish your power. And I think that there's also the idea of the collectivity and framework that Related Tactics brings where we can all also do that for one another, right? When one person is at 10 percent capacity, the other two people can step forth and we can all move and lift each other up together rather than doing it as individuals.   Miko Lee: [00:46:52] Thank you. And Weston, what can people expect when they walk into Edge on the Square, the corner of Grant and Clay? What will they see that will show them your work?   Weston Teruya: [00:47:04] So the center point of our installation is going to be these carts with an array of takeaways that people are free to engage with in different ways, and they are essentially prompt for various potlucks that, we've contributed as a themes and as collaborators and then have also invited a group of additional artists to contribute as well. One of the modes that Related Tactics works in is in the form of the takeaway and part of the impetus behind that is that we want to provide the seed for people to create their own sort of spaces and gatherings and encounters with people beyond the gallery walls. We don't want art to just be this thing that only exists in these defined spaces. We've had different projects that use that mode, and this is one of them. We invite people to engage with it, take these ideas, plant the seeds for their own potlucks beyond the walls of the gallery and hopefully have these opportunities to build community, in their own spaces, in their own worlds, amongst their own networks of people.   Miko Lee: [00:48:12] I love the accessible takeaway. I still have a divest yourself matchbox from one of your shows. [Laughs] I love that. Michelle, what's a concrete example of a takeaway from Nourishing Power?   Michelle K Carlson: [00:48:27] One of the examples I would talk about is, one of the artists we've invited, Joy Enriquez, has created like hundreds of tiny ceramic spoons. They're thinking a lot about how does one articulate when they need support. They talk about it as if one only has so many spoons to use in a day, but you have way more things you need to do with those spoons. How do you survive that? How do you ask for support? How do you allocate those spoons to this kind of overwhelming existence? They have all these really beautiful prompts that will be printed on a card to take away, but then also you can take away a ceramic spoon that they've been spending many hours in a ceramic studio, making and firing. I think there's this idea too, that there's many, many ways one can use that spoon that can exist to support your day to day that you might not think about. So they have some things that are about how one might hold or touch the spoon or things you might do with it that isn't just about eating. That also really embodies the spirit of this project, that it's also not just about potlucks in the sense of like, bring food to a table, but that it's about this kind of space to share knowledge, to share resources, to exchange things when you don't feel like you have the thing you're supposed to bring, or you can't meet the expectation, the greater expectations of what is supposed to occur in that moment. But that the potluck is a space for us to share and support each other in ways that we maybe have not been able to imagine yet.   Miko Lee: [00:50:06] Ooh, I love that. And Mia, how many different artists are there? How many, and how did you go about selecting all these different artists that are participating?   Mia Nakano: [00:50:15] There's over a dozen artists who are participating, and we collectively just started brainstorming and extending out invitations to our various communities and folks that we've worked with in the past, folks who, have participated in Related Tactic shows or know, you know, through other pathways and connections. And then I just reached out to a few Visibility Project participants, even folks going back that I interviewed over 15 years ago to ask if they would be willing to participate. Each person was invited to create one prompt, one initial prompt of what the potluck would be, like if they were to have a potluck, right? So we have somebody who put forth a potluck for screaming, a potluck for nourishing. So different artists are putting forth their own individual potlucks, and one prompt connected to that, and then folks will be able to use that as a seed to create their own gathering spaces in the future.   Miko Lee: [00:51:15] If there's an action word that you would want people to walk away with, what's that action word after they go to see your exhibit? What is the verb that you want them to do?   Weston Teruya: [00:51:27] I think it might be gather. That's sort of the crux of what we're hoping to seed.   Miko Lee: [00:51:33] What about an emotion? Is there an emotion you want folks to walk away with?   Mia Nakano: [00:51:38] I like the idea of gathering, in that also kind of to be able to connect, right? Like we're not just coming together, like we're building something that we want to connect and maintain.   Michelle K Carlson: [00:51:50] Yeah. And I think also like exchanging, right? It's like something really active is happening, there's an exchange, everybody's kind of, there's like a reciprocity too. That you know, that nobody is hosting, like everybody's coming and sharing and exchanging and giving and receiving and maybe nourish is actually the right, I don't know if nourish is an emotion, but I think in the social justice world it is. [Laughs] So it feels like nourish actually is probably a useful emotion. I think reciprocity is also like a feeling that should happen, that when you are giving you're not doing so to the point of extraction because you are also receiving. And that's I think one of the core things about this project wasn't just about Related Tactics and or Visibility Project offering ideas. It was like, we have created a prompt for a potluck and in many ways audience members will come into the show and see our potluck because it will have all these contributions from all these other artists. And so you get to kind of leave with like a goodie bag, doggie bag that is like the kind of residue of our potluck. We hope that folks go home and do that for themselves within their communities, either using our prompts or using our prompts as a platform to create their own space.   Miko Lee: [00:53:18] Is there a perfect amount of people to attend a potluck? Like how many dishes do you want at your potluck?   Michelle K Carlson: [00:53:26] I feel like we're in like a seven to ten vibe. Like 15 tops, then it's too many. You know, it's like, because not too many, but it, there's a different thing that's happening when you get over 15 people in a room. But like, I feel like 10 is the zone where you can still have kind of like close intimate, you know, conversations where you can like build trust, you can spend some time, get around to see everyone, get a little bit of everybody's, you know, contribution, and then, but it's not like so small that it's like you and one other person and you're on a very awkward blind date or something.   Miko Lee: [00:54:09] And are you all down for the themed potlucks or do you like them to be just open ended, bring whatever you want?   Mia Nakano: [00:54:17] I love a themed potluck. I love just like some sort of container where you're going in and you're acknowledging I've got dessert, or we're gonna go over to Southeast Asia, rather than everybody showing up with ten pots of rice and they're just eating rice all night.   Michelle K Carlson: [00:54:35] Or tortilla chips, or like Trader Joe's brownie bites, like five containers of those. No shame on brownie bites.   Miko Lee: [00:54:44] Okay, how can folks find out more about your work?   Mia Nakano: [00:54:48] So folks want to check out what the Visibility Project is doing, you can go to visibilityproject.org and learn about all the participants and hear their stories and even go on an LGBTQ digital history tour of the Asian American community in the Bay Area.   Michelle K Carlson: [00:55:04] If you want to find out more about Related Tactics, you can go to relatedtactics.com or find us on Instagram and our handle is just at Related Tactics.   Miko Lee: [00:55:15] Thank you so much for joining me and I look forward to seeing your work in the show and feeling nourished and planning my next potluck. Thank you so much. So that was a chance to listen to just a few of the artivists that are part of Walking Stories. You got a little insight into where they're coming from and how they created their pieces. And there's so many more artivists that you didn't get to hear from. So I hope you'll come to our exhibit that runs June 29th through the end of December. We'll be at Edge on the Square in San Francisco Chinatown. We'll put a link in the show notes at our website kpfa.org backslash programs, backslash apex express. We hope that you'll join us and share your story too, because all of us have important stories to tell. Thank you so much for joining us on Apex Express. We thank 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 produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Hien Nguyen, Jalena Keane-Lee, Miko Lee, Nate Tan, Paige Chung, Preti Mangala-Shekar, and Swati Rayasam. Tonight's show was produced by Miko Lee and edited by Ayame Keane-Lee. Have a great night.   The post APEX Express – 6.27.24 – Walking Stories appeared first on KPFA.

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Tonight on APEX Express, Host Miko Lee speaks with artivists from the upcoming exhibition at Edge on the Square.   TRANSCRIPT Walking Stories: Artivists POV   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 Lee: [00:00:34] Good evening this is Miko Lee and welcome to Apex Express. We are so happy to have you with us. We are going to be talking about something really personal to me tonight. We are talking about the new interactive exhibition at Edge on the Square in San Francisco, Chinatown. The whole exhibition is called Walking Stories and it is stories from our Asian American community. And we invite you to join us. It opens June 29th and runs all the way through December. Opening night, June 29th is going to be interactive performances and amazing little goodies so we really invite you to join us for opening, but if you can make it that night, we're running all the way through the end of December. Okay, so a little bit of background. Some of you might know that I have been a host on Apex Express for the past seven and a half years, and it has truly been a delight and a joy. As part of that time, I learned that Apex Express is part of a network of Asian American progressive groups. That's called AACRE, which is short for Asian Americans for Civil Rights and Equality. And about two and a half years ago, I joined the staff of AACRE, which has been such a joy to be around colleagues that share the same values and passions and beliefs in supporting and uplifting our community. For the past year, we have been working on a narrative strategy, really trying to reframe how Asian Americans are portrayed in the media, how we're perceived within our own community. We were initially going to do this with the Pacific Islander community as well. But in talking to our sister colleagues, they are going through their own process of a PI narrative strategy and I totally respect that. At some point we will merge and join those voices together. So right now we're focusing on Asian American stories. Through the past year through wonderful funding from San Francisco foundation's Bay Area Creative Corps we were actually able to fund approximately 37 different artists and embed them in different AACRE groups to be able to create narratives that resonate with their own communities. So that in this exhibit Walking Stories, we're going to hear stories about Hmong folks and formerly incarcerated folks, folks that are queer and trans and folks that have stories to share, because we all have important stories to share. Our exhibit is inviting folks to think about how they can get involved, how they can share their own stories, how they can join us in this collective movement for rewriting our history of the kind of silent, quiet model minority that sits in the background that's used as the wedge issue for larger things like reparations and affirmative action and really reframes that and brings back our Asian American activist past because we know that is who we are. That is our history going back from the first time that we came into this country. We invite folks in the community to join us to see more about who these stories are, to find out, to get involved to see what resonates with them and even what doesn't resonate with them. But really join us in this conversation. So tonight I'm really pleased to be talking with just a few of the artists that are in Walking Stories. So that you can get some insight into their process and how they made the piece that they're going to be sharing.   The exhibit itself will be at Edge on the Square in San Francisco Chinatown. When you walk in, you are going to see this timeline of lanterns hanging from the ceiling. That's about an Asian American activist history. You're going to see a really cool, nourishing power piece, which we're going to talk to the artists about, that is about how potlucks were used as a tool for queer and trans organizing. You are going to learn more about Hmong dance. And what does that look like, and what does it feel like in your own body? You're going to learn about ancestors, the power of our ancestors and how we can bring that to help us in our healing and moving forward. You're going to see in the exhibit about a Hmong story cloth reimagined with a modern perspective, you're going to see stories of south Asians activists and what they represent. And what does it mean to be a south Asian Muslim in America today? You're going to hear some of these stories. You're going to see them. We hope that you'll experience them. Then we hope that you'll learn more and find out about what we're doing and how you can get involved. So join me on this little journey through some of the artivists—that's artists that are also activists—that are part of our exhibit called Walking Stories. Come board. Join us. Welcome Hà Trần to Apex Express. We're so happy to have you with us. Trần Châu Hà: [00:05:40] Thank you for having me.   Miko Lee: [00:05:41] So you are amazing artist, but I want to start and go back and for you to tell us who are your people and what legacy do you carry with you?   Trần Châu Hà: [00:05:52] Ooh, oh my god, that's such like a big question. I guess my people are the people at Asian Prisoner Support Committee. I come from like a lineage of like Vietnamese refugees, and I think about like the ways that our communities have been impacted by the legacy of imperialism, which includes like incarceration, deportation, and things of that nature. I would say my community are folks who are impacted by, those kinds of pipelines and violences, Southeast Asian folks broadly.   Miko Lee: [00:06:14] And what legacy do you carry with you from them?   Trần Châu Hà: [00:06:18] I think the easy answer is like resilience clearly. To exist and survive under so many different violences and still move forth and create such beautiful communities.   Miko Lee: [00:06:25] Hà how did you get started working with Asian Prisoner Support Committee?   Trần Châu Hà: [00:06:29] It actually started from an interpersonal relationship. My best friend who also works at the organization now. They actually explained to me that a APSC was doing all this work in regards to like stopping the prison to deportation pipeline, how like so many of our Southeast Asian American community members were impacted by this kind of incarceration and things of that nature. At that point, it just became my political home after many, many years.   Miko Lee: [00:06:50] Thanks for sharing that. Then tell us about the work that you have in the new exhibit that is opening up called Walking Stories. Can you tell us the title of your piece and then describe it for us?   Trần Châu Hà: [00:07:01] The piece I'm making is a comic called We Was Girls Together. It's a quote from Sula by Toni Morrison. The comic is about my friend Maria Legarda. She's a re-entry coordinator at the Asian Prisoner Support Committee. She's also a Filipino immigrant who's facing deportation to the Philippines now after she was incarcerated in CCWF for 14 years. We met each other through APSC I know her as a very generous and kind person who loves crocheting. She's always been like an extreme light every time I come to the office and interact with her. But I also know that Maria is like someone who frankly, knows all these like incarcerated women or like formerly and currently incarcerated women. She really shows me what it looks like to be, like, an abolitionist feminist despite the kind of struggles and difficulties that she's moving through as someone who's literally currently still facing deportation because of her quote unquote, deportable offense. My comic is about Maria Legarda. It starts with like her story, her migration story from the Philippines. She was born under the Marcos regime, which basically socioeconomically destabilized the Philippines. She came to the US for economic opportunity. But clearly she had a really hard time adjusting, and then eventually she made some choices that led her to a federal offense that led to her decades of incarceration. When she was in prison, she met all these, wonderful women of color who also were survivors of sexual and gendered violence, so I just follow her story through her healing. Despite the fact that she's healed so deeply and she's shown so much care to other people and she has these communities she still is deportable to a country that she hasn't been to in 30 or so years, and doesn't consider home anymore.   Miko Lee: [00:08:27] Share with me a little bit about how zines are your choice of art medium?   Trần Châu Hà: [00:08:32] I love the nature of how like accessible they are. I think I kind of started out as an illustrator and an essayist separately. But then I realized as I was like writing essays I couldn't necessarily share those things immediately with my mom. She's not super fluent in English, right? But like when I combined the medium of illustration and writing into creating a comic in a zine, I could show that to my mom and even if she can't fully understand all the writing she could still access, like the actual medium. And then the form of the zine is something that is meant to be taken away. It's meant to be shared with other people. I started going to a lot of zine fests last year and it just made me realize like, oh yeah, I want all my stuff to be accessible, right? Like I don't want it necessarily to be underneath a pay wall or things of that nature. I think there's something like, you know, for lack of a better word, very like, democratic about zine making, and as well as, comics generally.   Miko Lee: [00:09:20] I love how you do the mom test.   Trần Châu Hà: [00:09:22] Yes. It's funny, I wrote, an essay about my grandmother, actually, in the Asian American Writers Workshop like 2021, and I had to literally translate the entire thing for her to read it to make sure all the details were right, and I was like, wait, I could have just made this easier by like illustrating some of it to make it accessible across language barriers and things of that nature.   Miko Lee: [00:09:40] And has Maria read through the scene?   Trần Châu Hà: [00:09:42] Yes, she has.   Miko Lee: [00:09:44] What has been her take on it?   Trần Châu Hà: [00:09:46] She actually sent me a very long signal which like made me cry because I was like, oh my god, I can't believe she actually thought this about the work. She was talking about how it helped her reflect on everything she's gone through but also like these relationships that have really sustained her. Namely like, I mentioned this person named Granny in the comic who I've met who's essentially like the person who adopted Maria when she just became incarcerated and was dealing with the fallout and trauma of sexual violence and things of that nature. The comic reminds Maria of just her growth essentially over all these years, but also all these rich relationships that still continue to sustain her like across carceral walls and things of that nature.   Miko Lee: [00:10:17] And what do you hope people that come and see your work and take one of your zines, what do you hope that they walk away with?   Trần Châu Hà: [00:10:25] The obvious answer to the question is, like, how cruel the prison to deportation pipeline is. For someone to build such wonderful communities in the United States and for borders being so arbitrary and things of that nature that they can be stolen away from these communities at any point, and how cruel and unnecessary that all feels for immigrants and refugees who have been criminalized to experience this kind of double punishment. I think the other element of it is the ways that women, specifically currently and formerly incarcerated women create these networks of care amongst each other that, in light of the state not supporting them and their healing, whether they've experienced gendered or sexual violence, these people will find each other, these women will find each other and they'll be able to support each other and help each other through these processes of healing and also like fighting sexual violence in the carceral system. Yeah, just like highlighting those kinds of like organic networks and that relationship building that we don't necessarily get to see in like, for example, like mainstream media or like policy making or things of that nature.   Miko Lee: [00:11:18] What will people see when they walk into the Rdge on the Square exhibit space?   Trần Châu Hà: [00:11:23] Yes, you will see 15 comic pages in acrylic frames and then underneath that will be a table with actually takeaways. So feel free to take the comic away in like a booklet form as well, but you can also read it out on the wall when you walk in.   Miko Lee: [00:11:35] Thank you so much for sharing with us about your artistry and your vision and your story about Maria and your connection with Asian Prisoner Support Committee. We look forward to seeing your work.   Trần Châu Hà: [00:11:45] Thank you, Miko. Pleasure speaking with you.   Miko Lee: [00:11:48] Next up, listen to “Staygo” from DARKHEART, A Concert Narrative by singer and songwriter Golda Sargento.   MUSIC   That was the voice of Golda Sargento from the new Filipinx futurism punk rock sci-fi DARKHEART. Katie Quan, artist, activist, ethnic studies teacher. I'm so happy to have you on Apex Express. And the first question I want to ask you is, who are your people and what legacy do you carry with you?   Katie Quan: [00:16:51] I would say that my people, I really strongly identify with Asian American movement artists, makers, and shakers from like the 60s and 70s. It was my first introduction to really seeing Chinese Americans be out there and be really vocal, be excited, and be loud and angry about all these different topics. And so I've really gravitated towards just all that excitement, all that energy over the past decade just after learning more about them. I really just enjoyed seeing what that looks like and how we can continue that energy, especially for East Asian Americans here in the States, as we move into a new generation of game makers.   Miko Lee: [00:17:38] Tell us about how you carry that legacy of feisty activism into your work as an artist.   Katie Quan: [00:17:44] I like to consider myself a legacy of the Asian American movement. My grandparents came here in the 30s and 40s. I also have great grandparents and great great grandparents who traveled between the US and China, back and forth, back and forth and so I find myself really attached to their stories as well as how they've overcome a lot of those obstacles that Chinese Americans had to face during that time frame. My parents are both second generation Chinese American. They met at Self-Help for the Elderly, which was a organization that came from the Asian American movement in terms of making sure that our elderly are actually taken care of and have culturally relevant care. My parents were very much interested in enrolling us into bilingual education. Bilingual education was not a popular educational pedagogy at that point, partly because people thought that if you learned another language that was not English, that you would lose your Americanness in a lot of ways. And so one of the things that I really like to bring into my art is making sure that legacy and that history is always challenged and always, it feels relevant to where we are now, but also can meet other people where they're at. I do understand that not everyone gets to have a lot of those kinds of privileges where they see themselves, in their role models or that they didn't grow up around the history, I understand that that's the case. And so making sure that the work that I always produce meets people where they need to be at, is something of interest and something that I carry with me in all my work.   Miko Lee: [00:19:32] Thank you, Katie. Can you talk about the work that you have been doing with Chinese for Affirmative Action and tell us about the reparations zine that you've been developing?   Katie Quan: [00:19:43] Me and a team of other artists, academics and activists have been working to make a reparations zine alongside Chinese for Affirmative Action. Here in San Francisco reparations is still a very contentious issue. So one of the things that we're trying to really bring about and inform, especially the Chinese American demographics, is what reparations are and how we can support the work that black communities need and what they're doing at the moment. Within the zine, we are really covering what reparations are, how African Americans in San Francisco have contributed to the making of the city and also the Bay Area, how their community has been bulldozed in many, many ways, whether it's through health, environmental justice, redlining, all of these different issues. What's happened in the past 50, 60 years reparations is that first step in terms of saying sorry and, how can we begin to mend this wound that the United States has created consistently over time with this particular population.   Miko Lee: [00:20:54] What has surprised you about this process?   Katie Quan: [00:20:58] It's hard. [Laughs] And not that I didn't think it wasn't going to be hard. But I think the team that we've been working with, we've been really fortunate because we have some, second, third and fourth generation activists and artists, but we also have a team of other people who are new immigrants, and we've been really fortunate to learn from their perspective. And so rather than approaching it in a lens that talks about anti-blackness, sometimes it's talking about what it means to be American. And how do we participate in democracy? It's bringing a very positive spin, or just kind of a different spin to topics that we already know, and then that we talk about all the time, but making sure that it's accessible to everybody.   Miko Lee: [00:21:46] So this zine is going to be available for free in the Edge on the Square exhibition. Can you talk about what people will see when they walk into the exhibition and see your work? What are they going to see? What are they going to experience?   Katie Quan: [00:21:59] Yeah, we are hoping to make sure that our exhibition is big and it's bold, but at the same time it feels simple in its messaging. Asking people a little bit about what they know about reparations, being able to challenge their own thinking of what they know about black communities here in San Francisco, what they've done. Also talking about how we ourselves get information, how do we learn the things that we know and how can we challenge that? Or how can we push that forward? And so we will have an interactive element, but we will also have the zine there available, which will be created both in English and in Chinese for anybody who needs it. We will also have additional resources via QR code so that if anybody has any other questions or want to learn more about it, want to act on their excitement for this particular issue that they can also do so.   Miko Lee: [00:22:58] And what do you hope that people will walk away from your after taking away your zine after seeing the exhibit? What are you hoping that they will learn or or do after seeing your work?   Katie Quan: [00:23:10] One of the things that we kind of came across when creating the zine is that people had very strong opinions about reparations. They didn't always have all the information, but they had very strong opinions and they had very particular beliefs that come from their own life experiences. Our goal for this is not necessarily to persuade one way or the other, but it's to make sure that they're informed and just making sure that they have all the facts so that they can make a decision that best suits their own life experiences. We're also hoping that people walk away feeling like they know a little bit more and that they can share that with their own communities in a way that makes sense for them.   Miko Lee: [00:23:51] Katie Quan, thank you so much for joining us on Apex Express.   Katie Quan: [00:23:54]Yes, thank you so much.   Miko Lee: [00:23:55] Next up, take a listen to “Live It Up” by Bay Area's Power Struggle.   MUSIC   That was “Live It Up”by Bay Area's Power Struggle. Welcome Tsim Nuj to Apex Express.   Tsim Nuj: [00:27:32] Hi, Miko. Thank you so much for having me today.   Miko Lee: [00:27:37] Can I start with just by asking you, who are your people and what legacy do you carry with you?   Tsim Nuj: [00:27:46] Who are my people and what legacy do I carry with me? My people are Hmong. My ancestors were living in northern Laos, in the mountains and in the jungles and farming. That's where my lineage and then my ancestors had to flee their homes because of the Vietnam War and the secret war in Laos to find refuge in Thailand and then now we're here in the US. specifically in Merced, California in the Central Valley on indigenous Yokut land. So yeah, that's my, those are my people. I think that my community here in Merced that I organize with, who are also queer and trans folks of color are also my people. And I think that the legacy that I carry is this legacy of, I carry this legacy of love. I think that in moments of having to find home and having to survive, I think that love really grounded my people and my people's families. And so I think that I'm really holding onto this act of loving. That I think really grounds me and really affirms who I am and the journey as I honor my ancestors. And I really, as I think about the descendants, right, my descendants, the young people who are a emerging and, you know, the future generations that are coming. And so I think that there's this really special moment where I feel like I'm really longing to connect with my ancestors, especially those who were queer and trans, my queer and trans Hmong ancestors. And I've been also connecting with my descendants. And then I think that there's also this present moment, right, where I'm also connected deeply with my community, who consists of being children of immigrant refugees, you know, queer and trans folks, and folks that are really reimagining and really fighting for a world where we can all be liberated and be our full, authentic, genuine, loving selves.   Miko Lee: [00:29:58] Thank you for sharing. Your art form is as a dancer, as a movement person, and you've created a video for the Walking Stories exhibition. Can you tell us the name of that video and what inspired you to create that?   Tsim Nuj: [00:30:14] I feel really honored to be a part of the Walking Stories exhibit, and this is actually my first exhibit that I get to be a part of and share my work in and so it feels very exciting and it feels very, like such an honor that I get to be a part of this project that's a collection of works who the artists and yeah, the folks that are a part of this are just such like incredible, brilliant beings, sharing our stories. And so my dance video The title of it is Our Queer Hmong Love Dance. What really inspired this piece was this idea of being home, right? And this idea of belonging. There's, there's so much ideas that came up for me. And I think that these ideas were coming up because of a recent transition. Last year, around this time, actually, I graduated from UC San Diego, and I was coming home, right, after five years. And so I think that this piece is really about connecting with my roots and finding home specifically in Merced and in the Central Valley. And really trying to think about who I am as a Hmong person. But it was also about who I was as a Hmong and queer person, right? A queer and Hmong person. And so I started to think about these rituals or these sounds and these movements that I really needed to explore. And so a lot of that exploration and that work. I got to practice and be in process and I think it's really what I needed in this moment. And so I'm really grateful I'm really grateful that I get to share it with my community and I'm really grateful that I get to share with my community and the folks that come and see our exhibit and I really I'm really hopeful that folks will resonate with it and really get to just witness me.   Miko Lee: [00:32:14] And so folks will come to the exhibit, they'll see all these different works, they'll see a booth that will have your film playing in it. Is there something that you want to have your audience lingering with or thinking about after they watch your work?   Tsim Nuj: [00:32:30] Yes. I really want my audience, the folks that come to the exhibit, feel invited to witness my piece, my video in the booth. I want them to allow themselves to really feel, right, whatever they're feeling, whatever is coming up for them. Whether it's the sounds that are guiding them, whether it's the visuals, right. Whether it's, you know, there might be some words or some images that come up, and I really want the audience to just really be with their bodies. Be with their minds, their spirits, right? And I, I hope that they allow themselves to just feel it. And I, I remember having a conversation with you Miko about this like meditative presence. And so I'm hoping that my audience or the folks that come and witness the entire exhibit, right? I hope that they are curious, and that they really allow themselves to just be with the work, whatever that means for them. I don't want to tell people how to watch my work, right? But I do want them to just really, be with it, right? And, and if you can, I hope that you'll be able to watch it for its entirety. I think that there's something really beautiful happening, with how I have put this video together and so I hope that you can be with it. Take the deep breaths. Take those breaths, right, pay attention to the sensations that you experience in your body.   What I want the audience to take away from after seeing my piece, I hope that they get to receive it and that they breathe it in and they're with it, right. And that they really see me and see the people that are in this video. And I hope that they see parts of themselves in it, and parts of their stories and their journeys. And I also really want them to think about these questions that I propose and that I ask, right? That I'm also asking myself. This piece is a dedication, right? I think that I'm creating this piece for my ancestors. I'm dancing for my descendants, and I think I'm also asking them, I'm in conversation with them, right? About where is home? Especially for folks who have been displaced, because of very violent histories of war and persecution and having to flee our homes, right, and survive all that, like, thinking about our indigenous relatives here on Turtle Island and thinking about Palestinians in Gaza. I think that, there's in this moment, this piece, I do ask, and I am trying to find this home, this idea of going home. And also how do we dance there, right? Like, how do we dance towards home? And so what is dance for us? I'm just really inspired by, black queer and trans feminists, specifically Prentiss Hemphill, and just the conversations that Prentiss has shared on their Spotify podcast, go and check it out. I think that this piece is also about remembering and honoring the folks who have come before me and the folks that will arrive after me.   Miko Lee: [00:35:32] Tsi Nuj, thank you so much for sharing your story. And we look forward to seeing your dance piece in Walking Stories.   Tsim Nuj: [00:35:41] Thank you so much, Miko, for your time and for creating the space for me. Yeah, I like, I think there's a lot of excitement that I feel in my body. And so like, I want to talk about the work, but please, please, please, for whoever is listening, come and be with us. Come and experience our work and be in conversation with us. I think it's really important in this moment for us to uplift one another's voices and really affirm each other's stories. When we think about collective liberation, it really is doing this work, right? Of thinking about what is collective care and collective love look like, how do we lean into our creativity, our ancestral technologies and practices to really make meaning of how we show up in this world, right? And to really empower us, right? To, you know, continue showing up for one another and because we know that this work is lifelong. Healing and, you know, really creating this world where we are all free. I hope that the folks that are listening to this and the folks that come to the exhibit and everybody, right, I really hope that we can feel how important it is for each one of us and all of us to be in this movement towards the liberation of everybody, right? Because our liberations are, are so deeply intertwined and connected. So thank you.   Miko Lee: [00:37:04] Thank you so much. That was great. Let's take a listen to one of Byron Au Young's compositions called “Know Your Rights.” This is part of the trilogy of the activists songbook. This multi-lingual rap gives steps to know what to do when ICE officers come to your door.   MUSIC   That was “Know Your Rights” performed by Jason Chu with lyrics by Aaron Jafferis and composed by Byron Au Young. Welcome Visibility Project and Related Tactics to Apex Express. I'm so happy to have you all with me this evening, and I would love to just ask you all the question I love asking for people, which is what is your story? What's your background? And what legacy do you carry with you? And let's start with Weston.   Weston Teruya: [00:40:12] I am a Japanese American and Okinawa American from Hawaii. I identify as an Asian American and person of color, and I draw on the histories of cross-racial solidarity between communities as a strategic alliance and community building effort for justice.   Miko Lee: [00:40:34] Thanks, Weston. And Michelle, how about you? Who are your people and what legacy do you carry with you?   Michelle K Carlson: [00:40:41] Hi, thanks, Miko. I'm Korean American. I grew up in Seattle, Washington and spent most of my time on the West Coast. I, similar to Weston, operate in a realm of cross racial solidarity, linking myself often to histories of racial solidarity justice movements. Weston and I are representing Related Tactics, which is an artist collective that also anchors itself within these histories of cross racial solidarity. We make all sorts of artistic works at the intersection of race and culture.   Miko Lee: [00:41:18] Thanks, Michelle. And finally, Mia Nakano, who are your people and what legacy do you carry with you?   Mia Nakano: [00:41:24] Thank you so much for having me here. I'm Mia Nakano she/her pronouns and I'm the executive director of the Visibility Project. I am a queer fourth generation Japanese American woman. I am the daughter of a single mother and the sibling of a deaf adult. And I think that all of those relationships and intersectional identities bring forth all of the work that I do. And so I think about queer ancestors, I think about accessibility in the deaf community, I think about all of the really powerful women that have been incredibly present in my life to shape who I am today.   Miko Lee: [00:42:10] Thank you, Mia. And you are two different groups of artists. One is Visibility Project. The other is Related Tactics. Can you share with us a little bit about how this collaboration came about?   Mia Nakano: [00:42:22] I was invited to participate as a contributing artist in one of Related Tactics' very first shows back in, I believe, in 2016, and have been following their work as a growing artistic practice and a collective for quite some time. I've always been thinking about how could the Visibility Project as a queer led, you know queer, LGBTQ, archiving and organizing artistic practice collaborate with this cross racial, very intersectional, collective in Related Tactics. One of the ideas that has sort of been percolating for me over a long period of time was that so many queer Asian American organizations and so many queer spaces have all come out of the idea and like the gathering around potluck spaces, right? So potlucks being safe spaces for queer folks, for folks of color, for marginalized communities who didn't have safe spaces to gather. And many queer Asian organizations started off with potlucks that then turned into social and political groups, which then shifted into political advocacy and culture change, and then ultimately like legislative change. And I saw such deep connections in terms of how I see related tactics and experience related tactics. It's building roots and planting seeds for multiple relationships and collaborations through the different intersecting ways that our communities have been able to come together over the past few years.   Miko Lee: [00:44:18] So how did this collaboration begin working on this concept around potlucks?   Michelle K Carlson: [00:44:24] This is Michelle from Related Tactics. The three of us have known each other for a long time and Mia and I have worked together in a lot of different capacities over the years. I think Related Tactics, at the core of what we do is coming together with this kind of shared belief and shared value system around collectivity as this really productive material and tool and method for creative action in the world. I think at the core of that is understanding that we don't have all the information and we don't like to be the only voice in the room and we are not the ones that necessarily should be telling the stories for everyone. Related Tactics, when we often get an opportunity, one of our common strategies is just to figure out a way to share that out and to bring more voices into the room to be in concert with our own. When we understood that the Visibility Project was also going to be a part of this project, we're like we should join forces and bring our communities together. And I think we've been looking for a way to do that over the years.   Miko Lee: [00:45:35] Talk to me about the title, Nourishing Power. Where does that come from? What is that about?   Mia Nakano: [00:45:41] I think because of the individual artistic practices, And the people who comprise Related Tactics, and myself at the Visibility Project, we are all so incredibly busy, that all of our contributions to our various communities, whether it's at universities, in social justice movements, in artistic organizations, we're all about cultivating the power of other people while putting artists into artistic practices and people first, right? Like you have to, put on your oxygen mask first before you're able to really step out and fully do the work that you want to be doing. And to do that, you have to nourish yourself, you have to nourish your power. And I think that there's also the idea of the collectivity and framework that Related Tactics brings where we can all also do that for one another, right? When one person is at 10 percent capacity, the other two people can step forth and we can all move and lift each other up together rather than doing it as individuals.   Miko Lee: [00:46:52] Thank you. And Weston, what can people expect when they walk into Edge on the Square, the corner of Grant and Clay? What will they see that will show them your work?   Weston Teruya: [00:47:04] So the center point of our installation is going to be these carts with an array of takeaways that people are free to engage with in different ways, and they are essentially prompt for various potlucks that, we've contributed as a themes and as collaborators and then have also invited a group of additional artists to contribute as well. One of the modes that Related Tactics works in is in the form of the takeaway and part of the impetus behind that is that we want to provide the seed for people to create their own sort of spaces and gatherings and encounters with people beyond the gallery walls. We don't want art to just be this thing that only exists in these defined spaces. We've had different projects that use that mode, and this is one of them. We invite people to engage with it, take these ideas, plant the seeds for their own potlucks beyond the walls of the gallery and hopefully have these opportunities to build community, in their own spaces, in their own worlds, amongst their own networks of people.   Miko Lee: [00:48:12] I love the accessible takeaway. I still have a divest yourself matchbox from one of your shows. [Laughs] I love that. Michelle, what's a concrete example of a takeaway from Nourishing Power?   Michelle K Carlson: [00:48:27] One of the examples I would talk about is, one of the artists we've invited, Joy Enriquez, has created like hundreds of tiny ceramic spoons. They're thinking a lot about how does one articulate when they need support. They talk about it as if one only has so many spoons to use in a day, but you have way more things you need to do with those spoons. How do you survive that? How do you ask for support? How do you allocate those spoons to this kind of overwhelming existence? They have all these really beautiful prompts that will be printed on a card to take away, but then also you can take away a ceramic spoon that they've been spending many hours in a ceramic studio, making and firing. I think there's this idea too, that there's many, many ways one can use that spoon that can exist to support your day to day that you might not think about. So they have some things that are about how one might hold or touch the spoon or things you might do with it that isn't just about eating. That also really embodies the spirit of this project, that it's also not just about potlucks in the sense of like, bring food to a table, but that it's about this kind of space to share knowledge, to share resources, to exchange things when you don't feel like you have the thing you're supposed to bring, or you can't meet the expectation, the greater expectations of what is supposed to occur in that moment. But that the potluck is a space for us to share and support each other in ways that we maybe have not been able to imagine yet.   Miko Lee: [00:50:06] Ooh, I love that. And Mia, how many different artists are there? How many, and how did you go about selecting all these different artists that are participating?   Mia Nakano: [00:50:15] There's over a dozen artists who are participating, and we collectively just started brainstorming and extending out invitations to our various communities and folks that we've worked with in the past, folks who, have participated in Related Tactic shows or know, you know, through other pathways and connections. And then I just reached out to a few Visibility Project participants, even folks going back that I interviewed over 15 years ago to ask if they would be willing to participate. Each person was invited to create one prompt, one initial prompt of what the potluck would be, like if they were to have a potluck, right? So we have somebody who put forth a potluck for screaming, a potluck for nourishing. So different artists are putting forth their own individual potlucks, and one prompt connected to that, and then folks will be able to use that as a seed to create their own gathering spaces in the future.   Miko Lee: [00:51:15] If there's an action word that you would want people to walk away with, what's that action word after they go to see your exhibit? What is the verb that you want them to do?   Weston Teruya: [00:51:27] I think it might be gather. That's sort of the crux of what we're hoping to seed.   Miko Lee: [00:51:33] What about an emotion? Is there an emotion you want folks to walk away with?   Mia Nakano: [00:51:38] I like the idea of gathering, in that also kind of to be able to connect, right? Like we're not just coming together, like we're building something that we want to connect and maintain.   Michelle K Carlson: [00:51:50] Yeah. And I think also like exchanging, right? It's like something really active is happening, there's an exchange, everybody's kind of, there's like a reciprocity too. That you know, that nobody is hosting, like everybody's coming and sharing and exchanging and giving and receiving and maybe nourish is actually the right, I don't know if nourish is an emotion, but I think in the social justice world it is. [Laughs] So it feels like nourish actually is probably a useful emotion. I think reciprocity is also like a feeling that should happen, that when you are giving you're not doing so to the point of extraction because you are also receiving. And that's I think one of the core things about this project wasn't just about Related Tactics and or Visibility Project offering ideas. It was like, we have created a prompt for a potluck and in many ways audience members will come into the show and see our potluck because it will have all these contributions from all these other artists. And so you get to kind of leave with like a goodie bag, doggie bag that is like the kind of residue of our potluck. We hope that folks go home and do that for themselves within their communities, either using our prompts or using our prompts as a platform to create their own space.   Miko Lee: [00:53:18] Is there a perfect amount of people to attend a potluck? Like how many dishes do you want at your potluck?   Michelle K Carlson: [00:53:26] I feel like we're in like a seven to ten vibe. Like 15 tops, then it's too many. You know, it's like, because not too many, but it, there's a different thing that's happening when you get over 15 people in a room. But like, I feel like 10 is the zone where you can still have kind of like close intimate, you know, conversations where you can like build trust, you can spend some time, get around to see everyone, get a little bit of everybody's, you know, contribution, and then, but it's not like so small that it's like you and one other person and you're on a very awkward blind date or something.   Miko Lee: [00:54:09] And are you all down for the themed potlucks or do you like them to be just open ended, bring whatever you want?   Mia Nakano: [00:54:17] I love a themed potluck. I love just like some sort of container where you're going in and you're acknowledging I've got dessert, or we're gonna go over to Southeast Asia, rather than everybody showing up with ten pots of rice and they're just eating rice all night.   Michelle K Carlson: [00:54:35] Or tortilla chips, or like Trader Joe's brownie bites, like five containers of those. No shame on brownie bites.   Miko Lee: [00:54:44] Okay, how can folks find out more about your work?   Mia Nakano: [00:54:48] So folks want to check out what the Visibility Project is doing, you can go to visibilityproject.org and learn about all the participants and hear their stories and even go on an LGBTQ digital history tour of the Asian American community in the Bay Area.   Michelle K Carlson: [00:55:04] If you want to find out more about Related Tactics, you can go to relatedtactics.com or find us on Instagram and our handle is just at Related Tactics.   Miko Lee: [00:55:15] Thank you so much for joining me and I look forward to seeing your work in the show and feeling nourished and planning my next potluck. Thank you so much. So that was a chance to listen to just a few of the artivists that are part of Walking Stories. You got a little insight into where they're coming from and how they created their pieces. And there's so many more artivists that you didn't get to hear from. So I hope you'll come to our exhibit that runs June 29th through the end of December. We'll be at Edge on the Square in San Francisco Chinatown. We'll put a link in the show notes at our website kpfa.org backslash programs, backslash apex express. We hope that you'll join us and share your story too, because all of us have important stories to tell. Thank you so much for joining us on Apex Express. We thank 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 produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Hien Nguyen, Jalena Keane-Lee, Miko Lee, Nate Tan, Paige Chung, Preti Mangala-Shekar, and Swati Rayasam. Tonight's show was produced by Miko Lee and edited by Ayame Keane-Lee. Have a great night.   The post APEX Express – June 13, 2024- Walking Stories appeared first on KPFA.

Greetings! In the season four finale of Stamper Cinema we return to the world of John Carpenter, with the 1986 cult-classic BIG TROUBLE IN LITTLE CHINA. Long time listeners will remember we previously covered three other Carpenter titles back in season one: HALLOWEEN / CHRISTINE / THE THING (visit StamperCinema.com for access to those episodes) Big Trouble in Little China is an action-adventure-comedy about truck driver Jack Burton (played brilliantly by Kurt Russell) and his friend Wang Chi (Dun) as they attempt to rescue Wang's green-eyed fiancée from San Francisco Chinatown gangsters, sorcerers and underworld monsters.  Joining us to break it all down is Chicago-based writer/comedian/producer Haji Outlaw. According to his biography, Outlaw has "written for television (The Eric Andre Show, CBS, Comedy Central, NBC, etc.), film, commercials and a numerous books (Hey Doorman, These Movies Suck, Mangelscarre, etc.). He has also produced music for Kool Keith, Chris Crack and himself. Not to mention being a comedian for over fifteen years."  Enjoy the show and we'll see you again in Season Five, beginning February 2024! Big Trouble in Little China links IMDB Rotten Tomatoes John Carpenter interview Haji referenced Haji Outlaw links instagram twitter / x YouTube Stamper Cinema links https://www.stampercinema.com/ https://linktr.ee/stampercinema  

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 the creatives behind San Francisco Chinatown's 2nd Annual Contemporary Arts Festival – Under the Same Sun: Reimagining the Edges of Chinatown. This community event is produced by Edge on the Square, the same folx who produced last year's Neon was Never Brighter. Miko chats with curator Candace Huey and artists Connie Zheng and members of the Macro Waves Collective.   Under the Same Sun Transcripts [00:00:00] Opening: Asian Pacific expression. Unity and cultural coverage, music and calendar revisions influences Asian Pacific Islander. It's time to get on board. The Apex Express. Good evening. You're tuned in to Apex Express. [00:00:18] Jalena Keane-Lee: We're bringing you an Asian American Pacific Islander view from the Bay and around the world. [00:00:22] Miko Lee: I'm your host tonight, this is Miko Lee. And you get the pleasure of hearing about the amazing edge on the square second annual contemporary art festival. I speak with the curator, Candace Huey, along with some of the powerhouse artists that are behind the interactive events that are happening as part of this festival in San Francisco, Chinatown on September 30th. Also, I'm going to be there. From seven 30 to eight 30, Leading a panel discussion all about the intersections between arts and politics and ways that we can think about how to re-imagine the edges of social justice and equity. We hope that you'll join us and listen tonight to this episode with some artists talking about how we can all be change makers, shake things up, enjoy some art and go out in the Chinatown community in San Francisco so enjoy the episode. Welcome Candice Huey to Apex Express. [00:01:23] Candace Huey: Thank you, Miko. So excited to be back here with you again. [00:01:26] Miko Lee: We are here to talk about Edge on the Square's second annual Contemporary Art Festival. I loved last year's Neon Was Never Brighter. First, just start by telling us about Edge on the Square. [00:01:40] Candace Huey: Thank you, Miko. So edge on the square is a new arts and cultural hub located in the heart of San Francisco, Chinatown. It is a project by C Mac, and it is a place based cultural hub that celebrates, explores and supports leading and pioneering creative expressions at the intersection of community, art and multiracial democracy. [00:02:04] Miko Lee: Ooh, that's so many things and so many important things in this time of turmoil that we're living in. Last year's Neon Was Never Brighter was so fun, so much interactive art. Tell us about the theme for this year and how you came up with it. [00:02:19] Candace Huey: Thank you. So this year, we're excited to be back. It's going to be Saturday, September 30th from 5 p. m. to 10 p. m. We were really excited to gather some amazing local and international API artists. We worked this year with esteemed curators. I'm joined by. PJ. Polly Carpio Arena, Alejo and Sarah Wesson Chang to help inform the vision of the theme, which is under the same sun. Reimagining the edges of Chinatown. [00:02:54] Miko Lee: Oh, I love that title. I have been talking with some of the artists which we're going to hear from soon about how they take that theme and what does it mean to them? Can you tell us what it means for you to have this theme of under the same sun? And what are the edges of Chinatown? What does this theme mean? [00:03:12] Candace Huey: Sure. Happy to share about The theme of the festival under the same sun reimagining the edges of Chinatown for this year's Contemporary Art Festival, while this year's festival is really focused on the unity and solidarity of the API communities coming together during this tough time ongoing, we're still grappling with the after effects of the pandemic and we're still in the pandemic and we're still facing a lot of adversity from the ongoing anti Asian rhetoric. And compounded with this past year's moments of, you know, tragic tragedies in the Supreme Court with overturning of Roe versus Wade affirmative action and other discriminatory policy policies, not only affecting API communities, but other underserved communities of color. we felt that it was still really important to focus on unity on solidarity and coming together, but also thinking about how could we re imagined and redefine, both Boundaries and borders real and imagined that exists not only in Chinatown, but beyond between different communities of color and coming together and commenting on the fact that the critical work for social justice and equity is continuous and ongoing. [00:04:27] Miko Lee: Okay, so as an audience member, I get myself into Chinatown. I'm on that the square. What do I see? [00:04:35] Candace Huey: We're having multimedia, fun, exciting art installations and activations ranging from dance performances to music to nighttime projections to artwork, interactive installations. There's even a sound bath. That's going to be located inside 800 Grant Avenue by the artist collective Macro Waves. We're having a digital work by Indira Allegra, which is a digital tapestry, a collective new take on what is a memorial monument in the community sense, but basically edge on the square and this contemporary festival is thinking about how can we use art to come together And to heal and really think about potent regeneration and thinking about collective power. [00:05:24] Miko Lee: Ooh, collective power folks join up and come to edge on the square, second annual contemporary art festival, the end of this month, September 30th. And we're going to hear next from a bunch of different artists, including the macro waves and Connie Zhang. So stay tuned. [00:05:40] Candace Huey: Under the same sun, reimagining the edges of Chinatown is a free, open to the public, family friendly event, accessible to wheelchairs. We are expecting lots of fun, so come, enjoy yourselves, and be delighted. [00:05:56] Miko Lee: Candace Huey, thank you so much for joining us. And more than that, thank you so much for putting this artistry out into the community so that we can grow and heal and make changes together. [00:06:07] Candace Huey: Thank you, Miko. It's a truly an honor to speak with you and also to work with such talented artists and curators. [00:06:17] Jalena Keane-Lee: Next up, listen, to find my way by Rocky Rivera. MUSIC [00:09:45] Jalena Keane-Lee: That was find my way by Rocky Rivera [00:09:49] Miko Lee: Thank you, Connie Zheng, for coming on Apex Express. [00:09:57] Connie Zheng: Thank you, Miko. [00:09:59] Miko Lee: We are so excited to have you here. You are such a brilliant artist, scholar. You do so many different things. And I just love to hear a little bit more about who are your people and what legacy do you carry from them? [00:10:15] Connie Zheng: Thank you so much for this question. It's a really generous and expansive question .When I think about who my people are there's a broader community of Asian American API progressives, artists, activists intellectuals who I consider part of my community. There's also people whose legacy I'd love to carry. But who maybe I don't know personally. When I think about who my people are they're really people who are dedicated to creating better futures for all of us who are dedicated to collective thriving and liberation and change. There's a very literal answer to that question, which is my people are other Chinese Americans, but I think it's really important for me to think of a larger, more expansive community of people who are committed to the same sorts of Politics and goals for collective health and thriving and and freedom. [00:11:41] Miko Lee: Thank you for that. And speaking of that, you are going to be one of the many artists in Chinatown Media and Arts Collaborative's second annual arts event. This year it's called Under the Same Sun, Reimagining Collective Liberation from the Edges of Chinatown. Can you tell me about what that theme title means to you? How do you interpret it? [00:12:03] Connie Zheng: Yeah. Thank you. So when, yeah, the first time the curators shared the framework of under the same sun for me, I was really excited about this idea of collective thriving and growing. Because we are literally all under the same sun. Maybe it shines differently for different people or we all respond to it differently. This is a cheesy answer, but we are all actually on the same planet and we're all responsible. That responsibility is distributed somewhat differently because of our how different people, use the resources and steward the land differently, but we are all responsible one way or another for , our collective future. For me, Under the Same Sun speaks to questions of responsibility, it speaks to questions of collective growth, and nourishment, and our ability to feel the same kind of joy or radiance, and the conditions that enable that radiance. [00:13:12] Miko Lee: What do you think from the edges of Chinatown means? [00:13:15] Connie Zheng: When I think about edges I think about borders and boundaries and how they're often very porous, and also how the edge is really where I some of the most visible forms of change happen. It's not usually from the center , I'm really interested in thresholds, and how no every edge is both the ending and beginning and that sort of space where beings and things and entities cross over to become something else is really fascinating for me, and so the edge of Chinatown there's the literal boundary on a map of where Chinatown as a neighborhood begins and ends, but also the community in Chinatown , it's not limited to those 9 or 10 or 11 blocks. It's much bigger than that. It's much more expansive and diffused than that. I think that slippage between where the sort of bureaucratic designation of a neighborhood and a community like that tension or flow is really interesting for me. [00:14:42] Miko Lee: Oh, I like this philosophical every end beginning. That's lovely. You were raised in China. So when did you first see San Francisco Chinatown? What was your first experience with that? [00:14:53] Connie Zheng: I think I first visited Chinatown in actually in college. So I was born in China, and I mostly grew up on the East Coast. I spent a lot of time in Boston Chinatown and before that I lived in a very predominantly white working class town in Pennsylvania. There were not very many Asian people. My parents would have to drive two hours every month to the nearest Chinese grocery store. Growing up for me Boston Chinatown was like a revelation and coming to San Francisco for the first time and going to Chinatown was like a shock. It was incredible . Walking through the neighborhoods or walking past the small vendors, The stalls, reminded me of being in Asia and it was really magical. I didn't know that existed outside of Asia. The more that I learned about San Francisco Chinatown, it's history why the architecture is the way that it is and how it was really like a safe haven for a lot of people. Specifically during Chinese exclusion. It's a place that is filled with so much significance and meaning, and it's really special to have been able to do work there over the past year and to continue doing work there. [00:16:25] Miko Lee: You've done a number of site specific interactive projects, can you tell us about the one that you will be doing as a part of the upcoming Under the Same Sun? [00:16:33] Connie Zheng: I will be making a modular outdoor garden installation called Nine Suns, and it's in reference to the Chinese myth of Houyi and the Ten Suns. In this story, there were once ten suns, in the days when gods roamed the earth. The ten suns would usually cross the sky one by one. One day all ten of the sun appeared in the sky at once and started burning the earth. This archer Shot down nine of the suns and left just the one that we have today. I'm really interested in trying to imagine a more gentle transformation of the nine suns who fall from the sky. In the standard myth the archer is like the hero but I've read like a number of sort of accounts that reference this myth that nuance the story a little bit by mentioning how like cruel and unkind this archer is. Especially since his wife is Chang'e, the moon goddess, who literally escaped from him I was really interested in reframing this myth and not having the emphasis be on this male archer who shoots down these nine sons, who Maybe we're just hanging out together and in this garden installation there will be nine circular planter tubs that are mounted on movable circular dollies. That are painted to look like the suns that were shot down by the archer. And [00:18:10] Miko Lee: so interest. That's very exciting. Wait, where will it be located? [00:18:15] Connie Zheng: I believe it will be located outside of CMAQ on Grant. I think the exact location is still being determined right now, but it'll be a street level installation. Each of the planters will be somewhere around 2 to 3 feet wide. There will be 9 of them and they will be arranged in a sort of wavy horizon line and each of the planters will have like Asian herbs. On the day of the festival, there'll be wavy line that's reminiscent of an undulating horizon. After the festival, the planters will be moved to Kaiming Head Start Preschool actually for use. For the school to use in their outdoor education program, which is really exciting. [00:19:04] Miko Lee: Oh, I love that. So you're making it, you're creating it for this one arts festival, but then it will have an ongoing life with young folks. [00:19:12] Connie Zheng: Exactly. Yeah. And that's really important. I think that was one of the most exciting things about this project. The planters, because they'll be installed on these circular platforms that have wheels on them, they'll be mobile and the idea is for them to be easily configured into different arrangements, depending on the school's needs. That feature was really exciting to me because it's inspired by The reality of very tight space in Chinatown and also in the interconnectedness of the community. I was like, really inspired by and struck by how so many residents of Chinatown are really mobile. They're tracing numerous orbits a day as they go to school, go to work, run errands, see friends and family, and just build these very rich lives with Lots of nodes of connection. The sort of connectivity is really important for me to think about here. I wanted these planters to be mobile, to be easily configured and modular and also to have a life outside of this one day event. [00:20:21] Miko Lee: So what is the walk away message that you want your audience, after coming to see this event, that's a reimagining of this folktale that many of us grew up with, what do you want people to know or to think about when they walk away from your exhibit? [00:20:37] Connie Zheng: It's really exciting for me when a project that I'm working on opens up different angles of thinking about a story that we've inherited. What happens to the fallen sons in this story is something that was really interesting for me and that I hope is interesting for others. The reimagining of these nine fallen suns as gardens is a really lovely thought for me I was really excited about the idea of each of these suns after they've been shot down from the sky, going off and nurturing their own earth, after they've Fall out of the sky, they like maybe roam through the solar system, and or the nebula, and [00:21:28] Miko Lee: They're just out there roaming around the universe. [00:21:31] Connie Zheng: Yeah, but then they find this maybe like a barren rock and then they nurture it into life. They start their own solar system, and so I think this idea of rejected things, creating new life or being the basis of a new ecosystem is something that's always been fascinating to me and I hope that the installation might encourage others to think about that as well the idea of, Things that are fallen, or thrown away, or considered useless as these nine sons were, things that were considered useless, actually being like, the source of new life. [00:22:09] Miko Lee: Rebirth. From the phoenix, they rebirthed. [00:22:13] Connie Zheng: Yeah, totally. I love that. [00:22:15] Miko Lee: Fun, fun. You do so many different types of mediums. You do film and drawing and writing, food events, maps, and plants, we were chatting earlier about mooncake design, and filmmaking, all these different mediums that you utilize. Can you talk a little bit about how the different mediums you use? impact the issue that you're exploring? Are you drawn to film because of this issue or does it just come to you organically? [00:22:43] Connie Zheng: I do like to come to materials organically. I think there's like a lot of unconscious intelligence that we have. If I have an idea for something, usually I'll try to sit on it for a while before I actually make the thing. There's some projects where the form and the material manifest themselves very quickly and early on. Sometimes it's just very obvious for example I recently finished a nine foot long map of Asian farmworker history in California, and I started making it while I was an artist in residence at the 41 Ross Space on Ross Alley. When I first started thinking about how to create this archive of Asian farmworker history in California, the map form was very obvious to me. I was like, oh, it definitely has to be a map. That was a project where I knew exactly what it would be once the idea, once the sort of like germ of the idea bloomed in my brain. [00:23:59] Miko Lee: Oh, I look forward to seeing that work. That's, is that up still? [00:24:03] Connie Zheng: Yeah. Yeah. It's up at the Berkeley Art Center right now, and it will be going To the Yerba Buena Center for the Arts for the Bay Area now triennial in September. that show opens in October. [00:24:16] Miko Lee: Oh, great. So folks can have access to your work in multiple ways. [00:24:20] Miko Lee: I noticed in a lot of your work is addressing environmental awareness and climate change. Have you always woven your politics into your artistry? [00:24:29] Connie Zheng: Certainly not. I think figuring out how to weave my politics into my creative work has been an ongoing process with a lot of trial and error. Not all of my work displays my politics so visibly. I feel like a lot of my creative practice is really just like a series of experiments to figure out what my creative languages. My earliest work was very personal, and as I started to have more of an audience for my work, I was trying to, figure out what kind of dialogue I wanted to have with people. My first short film was, very angry like film essay that was focused on how racialized and class, a lot of American mainstream media rhetoric about pollution is. That was very much inspired by my experiences of my childhood in China and also growing up traveling back and forth between China and the U S and seeing how intensely polluted a lot of the places where my family lived were and then learning more about how that came to be a lot of the worst pollution around the world , can really be traced back to multinational corporations that are based out of the U. S. or North America and Europe. A lot of this terrible pollution is outsourced to countries of the global south, developing nations and also like poor communities, often communities of color in the United States. And the more I learned about this, the more sort of furious I got about it. My first film essay was this extremely finger pointing piece, and the reception for it was really interesting for me. I noticed that the people who responded to it most tended to be like other Asian diasporic people or Asian Americans I received a lot of feedback from That it was didactic. At first that made me really angry to hear that it was didactic, mostly from white viewers and then I think that changed, , and then, , Got me thinking about , what kind of conversation do I want to have? How do I want people to respond to a work? I don't necessarily mean is that going to piss them off or not? I realized that it felt uninviting for people and it felt uninviting for the exact, people I wanted to have that conversation with. I wouldn't say like I've completely changed the way that I work. My writing tends to be much more pointed and my visual work I try to move through a spectrum of Different strategies and ways of weaving my politics into the creative work. Sometimes with certain projects, I want to be more inviting and to plant the seeds of that politics in people, and sometimes it's more like an open conversation, and sometimes it's a little more direct. For the last several years, I've really been experimenting with different strategies and approaches to bring my politics into the work and also to try to make it depending on the context, as inviting as possible without hiding what my politics are. [00:28:32] Miko Lee: Thank you for that. What are you interested in exploring at this Under the Same Sun event? Will you have a chance to walk around and see some of the other artwork, or are you staying with your exhibit? [00:28:43] Connie Zheng: I hope I'll be able to walk around and see other artwork. [00:28:46] Miko Lee: And what is it for yourself? How would you like to walk away from the festival? [00:28:51] Connie Zheng: I would love to have conversations with people about what the festival means to them and what questions it's opening for them and how they see, the installation what inspires in them, what questions it opens for them, I'm really humbled when people bring any real presence to my work, and it's not something I take for granted. I think really just engaging thoughtfully with a creative work that you see is it requires an act of like generosity. Would just be very excited to have conversations with people. [00:29:38] Miko Lee: Well, Connie Zhang, thank you for spending so much time with me. I appreciate you, look forward to seeing your artwork. [00:29:44] Connie Zheng: Thank you. Yeah this has been really lovely and thank you for your time and your attention. [00:29:50] Jalena Keane-Lee: Next up, listen to turn you by Rocky Rivera. MUSIC [00:29:53] Jalena Keane-Lee: That was turn you by Rocky Rivera. [00:32:53] Miko Lee: You're tuned into APEX express on 94.1 K PFA and 89.3 KPFB in Berkeley and online@kpfa.org. Welcome to Apex Express Macro Waves. I'm so excited to talk with you all. You are a locally based creative collective and you create interactive pieces that are around conceptual art, new media, and design. Welcome Robin Bird David, Dominic Cheng, and Jeffrey Yip to Apex Express. [00:33:25] Dominic Cheng: Thanks for having us. [00:33:26] Robin Birdd David: Glad to be here. [00:33:29] Miko Lee: Can I just start with each of you, because we have three different important voices. Can I start with each of you telling me who you are, who are your people, and what legacy do you carry from them? [00:33:45] Robin Birdd David: My name is Robin Bird David. I go by she, they, and that's a big question. I don't think we've ever been asked that question. I think it's an important one. Specifically there's five of us technically in the collective. There's three of us today, who are working on our current project that's coming up with CMAC and Edge on the Square. The collective also includes Tina Kashiwagi and Anam Awan but they are not here today. Specifically with us three, we're all born and raised in the Bay Area, Asian American second generation. So I think that holds an important aspect of the communities we serve. We've been doing a lot of work around stories of different generations of migration, the diaspora particularly with Filipino American, Chinese American we've done work around Japanese American stories, intergenerational stories. So I'll leave it there and pass it along to Dominic. [00:34:50] Dominic Cheng: For the most part. We represent our collective, which is mostly Asian American and Pan Asian artists. All of us come from different backgrounds of art practice. we really strive to collaborate and share our skills and our different experiences and really tried to build upon work that isn't necessarily representative of one single individual. And it's more centered around our collective experience and so as My collective mate Robin had mentioned we do a lot of work that's really introspective and looking at our ancestry as Asians in America or Asian Americans in America. We really try to focus a lot on exploring intergenerational experiences and issues, a lot of trauma and healing that we try to integrate with a lot of the work that we're producing. And that's what brings us here today to the project that we are creating as part of the Under the Sun Festival. [00:35:57] Miko Lee: So Jeffrey, who are your people and what legacy do you carry from them? [00:36:06] Jeffrey Yip: When I think of my people, I think of family. How I identify in general is for my upbringing, for my family and all the arguments I've had all the kind of love that was shown to me. I think as you get older, you start to have chosen family, right? Macrowaves we consider ourselves a family and I consider them my chosen family. Our broader community folks, there's so many people, there's so much love , in the Bay Area and specific being the creative kind of scene. Our legacy is we all have something to share in this world, right? As a collective, we've learned that we all bring something special to the table. We highlight our kind of like strengths. We do what we can to help each other. As a collective, we also do that in the broader kind of communities. It's like we, we have something to share. We mentioned this before, is like a collaboration and bring people on board and get to know people, build community, and like grassroots kind of way. [00:37:08] Miko Lee: So thank you for that. [00:37:12] Robin Birdd David: The reason why Macwaves got together in the first place was because we were really craving a place for people of color. Queer folks to come together to have a safe space to create artwork together. That was really removed from the competitive nature that is often in art spaces, as we know, like art within capitalism and within the society, it builds this structure of you're competing for grants or for residencies. The people that we want to serve and the people that we build with are other artists, queer people of color artists to really create a space where we can build and share resources and skills to create work together rather than to be competing. So that's something that we emphasize in our work. I think the Bay Area holds a special place as a place where a lot of revolution has happened, a lot of community building has happened in the Bay Area for people of color, for marginalized communities. I think that is a legacy we hope to carry as we continue to do this collective work. [00:38:16] Miko Lee: That's so great. Can you talk a little bit more about how you came to be, how your collective came into fruition? [00:38:23] Robin Birdd David: Yeah, that's a good question. Jeffrey and I attended San Francisco State together and we met in a cybernetics new media art class. We were craving a space that wasn't so white focus and wasn't so white wall focus. My background is in painting and Jeff was in the program for new media. We felt that there was this divide of either like the fine arts world, which was a very like white wall space. Then there was the art and technology spaces, which also felt white. There was just a specific type of artists and community that came along with both those spaces and us being people of color, Asian, and growing up in the Bay area. I felt like I didn't necessarily belong in those spaces at the time. We decided why don't we do our own thing? So we started doing these one day events, art experiences parties where we would do like installations and have like DJs and performers and chefs come and we would do this whole experience where like different senses were activated. That's how we started and it just formed naturally. [00:39:35] Miko Lee: So it started out Robin, you, and Jeffrey, and then you've grown to add more people? [00:39:40] Robin Birdd David: Yes, we started in the ideating phases, and then we brought in other folks, like Dominic, to come help and create these one day experiences. Then from there, the folks who were collaborating with us, we naturally formed into a collective. [00:39:56] Miko Lee: Does each artist play a specific role? How do you interact with each other? [00:40:01] Dominic Cheng: I think one of the things that we've felt really special about being in a collective is that we bring different strengths, but it doesn't necessarily dictate like what we can and cannot do in the collective. There's a lot of responsibilities with a lot of the organization, a lot of the finances, but then there's also the responsibility of developing concepts and like refining what approach we want to take towards making installation or an experience. I think organically we have developed concepts for our projects collectively. Some folks tend to take lead on some ideas and others follow and provide support, which is always I think something that has been really uplifting for us is to not really. Think about it from like an individualized perspective where one singular artist needs to do every single thing on their own. That really opened up a lot of opportunities for us as creatives and artists to think beyond what we individually can create and really honing in on the resources and the creative like experiences and techniques that other folks bring to the table. [00:41:14] Miko Lee: So macro waves focuses around future ancestry intergenerational experiences and collective healing. How does this relate to the Under the same sun, reimagining collective liberation from the edges of Chinatown, which is the theme of this year's second annual festival. [00:41:33] Dominic Cheng: We have been a collective since 2015. A lot of the work that we have been doing has been centered around storytelling and exploring our ancestry through a lot of experiences that we've encountered between us and our parents or us and our grandparents or others. Us and folks that are probably not an ancestor quite just yet. We have always been fascinated in utilizing that area as like a point of adventure as a place for us to explore ideas outside of conventional storytelling. We have been creating works specifically looking at how trauma has been passed along through cultures of just brushing things under the rug, or how those types of experiences can really build up a like a hard shell for folks to really break through and to heal. We've also been doing work that has been exploring some of the experiences that we all share like today especially through the pandemic [00:42:38] Miko Lee: How does the theme of Under the Same Sun make you feel and what does it inspire in you all as a collective? [00:42:46] Robin Birdd David: So MacroWave's coming together in the first place. Is really reimagining art practice like collective work. In this case collective care, which is what our project focuses on. We're really interested in including other communities in our work. We did a project called alternate realm in SF Chinatown, where we interviewed shop owners during the pandemic when a lot of the restaurants and businesses were closed down and we're only doing takeout. And so we saw an area where we could. Utilize our work to help small businesses out. And so we interviewed these small these business owners about their experiences around alters and specifically Qingming And we asked them how did their rest or their business restaurant shop start and what are your alters that you have at home. Through these interviews, we collaborate with other artists outside of the collective to create augmented reality alters that became a walking tour that communities can experience through their cell phones or iPads. And so really just like bringing. outside communities that are not necessarily in the art scene to experience what other people are doing in the community and how do we bridge the gap between different generations of people and continue this legacy of storytelling and to learn more about in this particular project, more about like our Asian community and the diaspora and how they were able to start a business in the first place. [00:44:27] Miko Lee: I really appreciated those short videos about Qingming and just getting to hear from a shopkeeper's perspective about what the things they're burning for their ancestors. I think about that a lot when I'm doing Qingming with my family. So I appreciate that there's this video that's there on the internet will just last, but then you had this temporary piece with where you would go and scan a QR code. Is that right? [00:44:53] Dominic Cheng: Yeah, part of this. That project really involved us really capturing the stories of these local businesses who are not just only struggling financially and economically to survive, but they were also like experiencing heightened like violence in their communities and xenophobia. And this was like during a time where we felt that. It was important for us to open up this project as a platform for other creatives, other artists who identify as Asians to create a digital offering, like a digital art altar offering to each business in response to the stories that they were hearing [00:45:33] Miko Lee: Jeffrey, can you talk about the piece that you're going to be showing at the exhibit coming up for under the same sun? [00:45:43] Jeffrey Yip: Yeah it's a huge project and we've been conceptualizing for about two years now. It's Actually a culmination of the work that we have been doing. In 2000, I think 17 or 16, we started creating like healing spaces. One of which was like Protectural Voyager, which showed at SoMa Arts. It was this geodesic dome and there was like healing feedback sensors attached to it. There was like one that could read your brain. A brain wave reader and what was a heart wave reader. We're inviting folks to meditate inside this dome and when they we're at a calmer state, then the visuals will be more meditative and encourage meditation. We've created a number of these kind of like healing spaces and exhibitions. Collective futures is the one that we're going to be showing at this festival this year. Idea is around community care, collective care and also questioning the idea of self care and self care is important and we all need self care and sometimes that can get caught up in Western individualism and I think it is important to have that delineation and emphasize the the collective care because because you can't do everything by ourselves. We need community. We need family members. We need people to show up for each other. [00:46:59] Robin Birdd David: Our piece is called collective futures. Our installation is a critique about self care and coming out of shelter in place. We were encouraged to take care of ourselves, but also as a means to be productive and to get back out there and to work. it's like what Jeff mentioned is really important, but there needs to be a shift to like community care like how do we take care of ourselves. If institutions aren't are not working if certain systems are not working, how can the community show up for each other and I think that. Under the Same Sun is an example of this collective experience of coming together to reimagine new ways of experiencing art and really integrating and bringing together different communities outside of Chinatown, into Chinatown bringing other migrant, people of color communities who all have similar ways of showing up and caring for each other rather than being segregated Into like different communities by ethnic groups, but like, how do we come together? [00:48:04] Miko Lee: Jeff. If I walk into Edge on the Square, what do I see? [00:48:10] Jeffrey Yip: If you walked into Edge on the Square, you would see a mound full of moss. We're inviting people to come and sit down on and in the middle of that mound, there's going to be like a bowl of water that will be vibrating and the whole platform is actually vibrant. So we're inviting participants to come on and feel these vibrations that are being produced by the sound artists that we're inviting to, to provide sound. On these platforms, there are transducers that essentially work like speakers, but instead of pushing air out of the cone, they vibrate . And so basically that's essentially what this project's about. We'll be like having a platform building a platform that will be vibrating. So there'll be like a, like a sound installation that will vibrate the same frequencies into the platform. And so there's this idea called a vibroacoustic therapy. And it's the idea that like. under certain vibrations that can be a healing thing, right? And so we're inviting folks to come on this platform and all vibrate on the same wavelength and essentially just have the intention to heal. And I think a lot of times with these healing spaces, we're not like, Oh yeah, these spaces are going to heal you. It's more it's more so like we're inviting to people with to come in with the intention to heal because I don't identify as a healer, but I feel like we all can do the work to heal ourselves. [00:49:31] Miko Lee: Where is your piece going to How can people find it? [00:49:36] Robin Birdd David: Collective Futures installation can be found in the Edge on the Square gallery space. It is part of the gallery exhibition that will be up, till next year, June. And the location is 800 Grant Avenue in San Francisco, Chinatown. The nature of the installation is really about collaboration. We're inviting other collaborators to come in to either create sound performances where the sound performance connects to the vibration. On this installation can feel can physically feel the music being played at the same time. We also are inviting other healing practitioners, we're hoping to invite a Tai Chi instructor to host a class, maybe with different, with elders, with different community members in Chinatown to be able to utilize the platform in different ways. [00:50:35] Dominic Cheng: We wanted to create a platform as a means of opening up dialogue about other community engagement opportunities. Some of the folks that we have been interested in is cone shaped top, which is arts and culture space based in Oakland that has been doing a lot of work opening up space for a new emerging sound artists to have a space to perform and just to share music and be in community with each other. [00:51:01] Robin Birdd David: Cone Shaped Top will be collaborating with us for the opening of Under the Same Sun Festival on September 30th. They will be hosting a series of other sound and performance based artists that will perform live for the festival. So we're really excited about that and to really kick off this installation where throughout the year, the rest of the year and next year, we'll be able to collaborate with other community folks. [00:51:28] Miko Lee: That is very exciting. Jeffrey Yip, what do you want audiences to feel? [00:51:35] Jeffrey Yip: Everybody's gonna have a different experience, right? I personally want to start with telling somebody how they should experience the work, like I really do feel like everybody's going to come in with a unique perspective. The way that they'll experience it will be new to themselves because for me part of the art right is the experience within the individual, and that's what they're bringing to the table. It's a almost a collaboration with the participants as well because they bring their unique experience to it and you know maybe they'll share some share the experience with somebody else and there might be similarities but they'll have a unique experience. Ultimately I would say a sense of togetherness and community. That would be ideal. [00:52:19] Miko Lee: What about you, Robin and Dominic, what do you want the audience to feel when they leave your exhibition? [00:52:28] Robin Birdd David: The concept behind collective futures really comes from that feeling that we had in the pandemic where we were actually able to take a break. The concept of self care, even though it existed already, was there was a hyper focus on self care, and whatever the care is that people needed, it was obvious that we all needed a break and we needed space from capitalism from the day to day work and hustle and bustle, and so this installation really is a nod to that. It's wait a minute, how we take a step back and think about like how do we show collective care? How do we show up for each other? How do we care for ourselves? In a way that I don't know if we really got to the We never really got to the root of the problem since we came back from COVID, even though COVID still exists. We never really figured that part out. Like here we are still continuing to hustle and continue the work which is all important. I'm hoping that people who experience our installation will be reminded of I need to rest and it's okay to take a break. It's okay to pause and it's okay to just lay here and be still and be okay with where they are in their lives, where we are in our lives. [00:53:47] Dominic Cheng: Building on to that, I really do think that one of the hopes that I have is for folks to come to this leaving with just more interest in exploring collective care. It's important to not just only continue to do the work of living day to day and trying to survive, but really to take those moments of rest and really to seek out opportunities to provide community collective care. It has to be a constant and it can't just be, like, a one time thing. That's what we're really hoping for folks to do is to really be moved by the collective experience that they share with. Either folks that they bring together with them to the space and to the installation or for folks that they meet and connect with organically just throughout their visit. [00:54:37] Miko Lee: What are you looking forward to at this whole event that's happening? Will all of you stay with your piece or will you get to wander around and experience the other events that are happening? [00:54:49] Robin Birdd David: That's a good question. I'm hoping we'll be able to experience the events. That's also my birthday. So I'm hoping to be able to celebrate, see folks I haven't seen in a long time in the community, and to learn about other artists work and to be able To also explore Chinatown as the way that the festival is, was designed to be able to support small businesses. And then also to be able to collaborate with Cone Shaped Top is such an honor and something that we've wanted to do for so long. [00:55:19] Dominic Cheng: I'm excited to just support other artists who are activating like different parts of the festival. I had attended last year's festival the inaugural festival and was really amazed and really moved by the ways in which folks were taking up taking up space in like public areas through art and were sharing different stories in different parts of the entire Chinatown neighborhood. That was really exciting for me to experience the first time and I'm hoping to experience that and something new this time around. [00:56:01] Miko Lee: What about you, Jeffrey? What are you looking forward to? [00:56:07] Jeffrey Yip: I echo everything they both said. I think being a spectator and experiencing What these other creatives are showcasing. I know Kim Ip is going to do a performance. I'm excited about that. TNT Tricycle is going to be there. Maybe I'll sing a song I know there is going to be a lot of great stuff. There's going to be the canto pop. I'm excited for that as well. So maybe dance a little bit in the street. , I think that would be nice. it'll be really good for me and Jeff to brush up on our Cantonese through dancing to canto pop DJ music. [00:56:43] Miko Lee: Okay, and we will just look forward to seeing you all dancing in the procession, which is going to be lion dance and then Duniya dance all the way around the block. So you can do a little Bollywood, a little lion dance. Thank you so much Macro Waves Collective for joining me on Apex Express. I hope people can get out in the streets and see this amazing artwork going down the end of the month, September 30th. Thank you all for joining me. [00:57:08] Robin Birdd David: Thank you so much for having us. [00:57:10] Dominic Cheng: Thank you so much Miko. [00:57:14] Miko Lee: Thank you so much for joining us. Please check out our website, kpfa.org backslash program, backslash apex express to find out more about the show tonight and to find out how you can take direct action. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world. Your voices are important. [00:57:39] Miko Lee: Apex express is a proud member of the AACRE network. Asian-Americans for civil rights and equality. Find out more at aacre.org. Apex express is produced by me. Miko Lee. Along with Paige Chung, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaida. Kiki Rivera, Swati Rayasam, Nate Tan, Hieu Nguyen and Cheryl Truong tonight's show is produced by me Miko thank you so much to the team at kpfa for their support have a great Night. The post APEX Express – 9.7.23 – Under the Same Sun appeared first on KPFA.

The Legacy of Eastwind Books Tonight APEX Express focuses on the legendary Eastwind Books, the oldest AAPI book store in the country closes on April 30, 2023.  Host Miko Lee speaks with founder Harvey Dong and staff Cheryl Truong and Banoo Afkhami about the history and the future of this beloved community activist book store.     SHOW TRANSCRIPTS EastWind Books 20230323-Thu1900 [00:00:27] Miko Lee: Express. Good evening, you are tuned into Apex Express. We're bringing you an Asian and Asian American view from the Bay and around the world. I'm your host Miko Lee, and tonight we're talking about the beloved and amazing East Wind Bookstore. It'll be closing its doors on April 30th after 41 years in operation. Joining us are is the founder Harvey Dong. Staff Cheryl Truong and Banoo Afkhami. So keep it locked on Apex Express. Welcome East Wind Books to Apex Express. I am so excited to talk to you all about the legacy of East Wind Books, I wanna start first with our legacy make. Harvey, can you just first share, I mean, I think many people know about you and we've interviewed you on Apex Express before talking about the history of where the terminology Asian American even comes from. And we know you're an esteemed professor at, um, uc, Berkeley. But can you, in your own words, tell us who you are, who your people are, and what legacy you carry with you from your ancestors? , [00:01:33] Harvey Dong: that's a tough, uh, question because, um, it would take quite a lot of thinking of the different places I've been in in the past. But, um, I, I would just start with, uh, this was our decision to, uh, continue the operations at East Wind Books, uh, was when a friend of ours, uh, Who was the manager of East Wind Books and Art, uh, informed us that this bookstore, uh, 1986 Shaddock, uh, was planning to be closed. And he was sad to see it closed, and he asked us, Myself and my wife Beatrice, if we'd like to continue it, possibly as an Asian American bookstore. Um, and we said that, uh, we'd think about it and it took us about two years. 9, 19 94, we were customers at his store and in 1996 we decided to take the leap, um, Beatres. Uh, graduated with a degree in ethnic studies, studying literature with, uh, professor Barbara Christian in African American Studies and Professor Elaine Kim in Asian American Studies and also Saling Wong in Asian American Studies. So she was very familiar with ethnic. lit and myself, I had the experience of, being involved when I was in the AAPA Asian American Political Alliance, to open the first Asian American bookstore on Kearney Street. Yeah, on the international hotel. We were evicted from that location in 1977. We gave it another try for another two years and, uh, everybody's shut down it's operations. So this is post third World Strike Post, um, uh, I Hotel. It was a time. Conservatism Prop 2 0 9, uh, attacks on the affirmative action and so forth, and we decided that maybe we could make a contribution by opening up and continuing. And evolving East Wind books of Berkeley. Uh, so since then, um, it's been a, uh, uh, quite a ride, you know, in terms of the people we've met, the people we interacted with, uh, the social movements that have come up and. We offered it as a, a place for up and coming, uh, Asian American studies, ethnic studies, uh, poets, uh, writers, um, and so forth. And it's, it's a, uh, a, a spot that we really. Treasure, we really enjoy. Um, the, the dream I had back then was, uh, people go all over to go to City Lights. Maybe East Wind books could be something like that. You know, we, we knew, uh, someone who worked at City Lights. Too. I [00:04:55] Miko Lee: love that. And I think for many people it has become a version of city lights, especially for the Asian American Pacific Islander community. But Harvey, you ignored my initial question. You went right into East Wind Books, which we're gonna be spending our whole episode talking about. And I wanna know, go way back and go back to growing up in Sacramento and, and tell me about, I know that your mom was also an activist. Can you tell me about how your mom influenced you as an organiz? [00:05:23] Harvey Dong: Well, my mom was always a very outspoken person. A lot of this had to do with the fact that because of the Chinese Exclusion Act, people who came over as paper sons, paper daughters, uh, she was left behind by both her parents, uh, because, uh, boys were prioritized over girls and her papers were given to a male cousin who could help at the, uh, grocery business. So she was, uh, left. And she went through the sin, uh, jaap Japanese war, uh, during war, war, war ii. Uh, she, uh, was a political refu. She was a refugee, uh, moving from China to Hong Kong, Hong Kong to Macau, and then back to China. So she had all this experience, and so she wasn't afraid to speak. Uh, we did see her speak out when, uh, acts of racism, uh, happened and, uh, she was also active in the, uh, uh, unions in, uh, for the state employees. So she, she was an inspiration to us, although we were probably too young to realize that we thought that she was just someone that was. Loud, [00:06:38] Miko Lee: loud. What wasn't afraid to speak out or speak her mind, right? Mm-hmm. . So not the model minority, your [00:06:44] Harvey Dong: mother? Uh, no, definitely not. Um, later when we, when I myself became active, uh, her main concern was not so much the, the content of the activism, but more whether or not I would graduate. [00:07:00] Miko Lee: Uh, yes. Graduating from college. That was the critical component to your. . Right. So tell me what was your, I know you have been involved in so many of the fabric that makes up Asian American movement building from the Third World Liberation Front to the Black Panthers to and with bees involvement in the Garment workers movement to the I Hotel. Tell me, what was your very first activist, uh, involvement? What was the thing that spurred your organizing? [00:07:30] Harvey Dong: Well, my first activist involvement. Dropping out of the, uh, RTC army program at uc, Berkeley. Uh, because I had talked to, uh, fellow classmates about the war. I went to a bookstore, uh, right around the corner from unit three where I lived. I just went out that exit and I just went in Cody's and read all their books about us imperialism and colonialism. And so I became, uh, anti-war and I. Lose some friends in the dorms over that cuz fellow Asian American friends who, uh, weren't as, uh, informed. You know, I would get into discussions and debates and so forth. [00:08:16] Miko Lee: And you had been reading all the books so [00:08:17] Harvey Dong: you knew Yeah, yeah, yeah. So I, I, I felt really passionate about it and I participated in Stop the Draft week 1967, uh, to, to, to, uh, uh, sit in at the induction. In Oakland, uh, I witnessed, uh, police brutality on demonstrators and it only fired us up, uh, for next year. Stopped the draft week part two in 1968. And so that kind of got me. Involved as an individual. Um, the anti-war movement, uh, began to relate with the, uh, black Panther movement. And from there I attended Black Panther functions. I even went down to the, uh, the headquarters as a volunteer witness, uh, because of the fact that there was news that there was gonna be a, a raid on the Black Panther headquarters and they needed community support. So I did have that background experience and then when the Asian American Political Alliance started in around May of 1968, um, I joined it the following fall. , um, they, they helped organize one of the first Asian American studies courses. It was an experimental course, and from there, I, I was, uh, became active in A A P A That led to the formation of the T W L F in, uh, December of 1968, and the strike begins in January, 1960. So I did, uh, meet quite a few people. We did, uh, connect with, uh, different, uh, peoples of color. Um, and white supporters during that time. [00:10:14] Miko Lee: Thank you for sharing that. And I know, um, B couldn't be with us here today, but b is your spouse and partner and collaborator, um, life partner and business partner. And I'm wondering if you can share a little bit about how b for Scott involved, and I know that she worked with the, um, garment workers, but do you know her origin story, her activist origin story? [00:10:35] Harvey Dong: Uh, sure. The, um, the strike, uh, ended. Um, with a moratorium of strike activities pending further negotiations for a third World College. Um, part of that agreement would be the establishment of an interim Department of ethnic studies at uc, Berkeley to begin fall, uh, 1969 and b. , the first, uh, among the first students to be part of that fall 1969, uh, ethnic studies, Asian American studies class. So she, so from there she, uh, she was actually, uh, previously active in the Asian block at Oakland High. They worked with the Black students Union. So she started [00:11:22] Miko Lee: as a high school student? Yeah. As an activist. [00:11:24] Harvey Dong: Wow. Yeah. Yeah. They, they had a group there and the, quite a few number of the. Black students, uh, uh, went to Berkeley that following fall, and they became very active in Asian American studies. Asian American studies was, uh, somewhat of a liberated, uh, program because they gave us a minimal amount of funding, uh, with the hope that we would, um, burn ourselves. Ah, but instead we, we used whatever funding we had. Uh, we used the, uh, the classes to develop Asian American studies and reached out to the communities nearby, such as Japan Town in San Francisco, uh, Oakland, Chinatown, Oakland, uh, Manila Town, uh, San Francisco, Manila Town, south of Market. And so forth. And, and then students from Asian American studies classes would go to all these locations and they would become, uh, uh, people who would start, uh, serve the people type programs. [00:12:38] Miko Lee: I love that. So they thought they were gonna squish y'all, but instead they kind of helped to fire up a movement. [00:12:42] Harvey Dong:.Yeah, we had to really Think and brainstorm, you know, solutions, you know, given the limitations. So Bee became, very active in, Asian American studies. It was called Asian Studies back then, and she was actually in the, governing body, you know. Oh, wow. So just imagine a university program where you have a freshman having a say in the running of the program. [00:13:15] Miko Lee: Does that happen nowadays? [00:13:15] Harvey Dong: Uh, now it's very distance, you know, it's, it's not, not at all [00:13:21] Miko Lee: basically. No, no, that doesn't happen now. Wow. And then how did you two meet? What is the activist love story of Harvey and B Dong? [00:13:30] Harvey Dong: Well, we've met, in Asian American. we became closer through the formation of the, uh, Chinatown Cooperative Garment Factory, which was a, uh, an alternative to the, sweatshops in San Francisco Chinatown. Uh, that was also an, originally an Asian American Studies, community course project where there's investigation, uh, interviews, oral histories, and, and then we applied for, uh, seed. To purchase equipment machinery to establish a, um, a cooperative garment factory, um, in the basement of the International hotel. [00:14:14] Miko Lee: Oh, so you started that first and then it was at the I Hotel that you started mm-hmm. , everybody's bookstore, is that right? [00:14:20] Harvey Dong: everybody's bookstore was on the, Kearney street entrance of on the international hotel block. that started as a  like a 10 by 10 room. We, solicited like 50 bucks each from different  AAPA members and we raised about $500 and we got a business license. We went down to l n s bookstore., the book vendor in San Francisco, uh, book people was another. and also China books, which had a, never ending supply of, of red books and, literature from China. that's how the bookstore started. And that was actually I think the, the last activity of the Asian American Political Alliance. It, it ended, you know, cause So, so [00:15:25] Miko Lee: was was founding [00:15:26] Harvey Dong: the bookstore? Uh, yeah. Was founding the bookstore. And then after that, the, the bookstore, uh, is, um, becomes independent of, uh, of the aapa because people, scatter, move, go to different directions and stuff. we then inform. around that same time, we, we, Asian American Studies, formed this Asian studies field office, which brought students to, uh, San Francisco Chinatown and Manila Town holding classes. So, so we had this bookstore, we had this Asian studies field office. Uh, a couple years later, funding gets cut for, for the field office. And we then form an independent Asian community center known as acc. And the acc, um, had to raise its own monies. Uh, there were a lot of elderly people coming down, a lot of seniors, and they themselves felt really very attached to the center and they. , um, solicit funds to cover the rent. Yeah. Wow. So it became a community space. what happened there was we, we, we had people go to, uh, Portsmouth Square and we told the, uh, people sitting there, the elders that, you know, you can come down to our center and sit. You don't have to sit out here in the cold. Ah, in the rain. [00:16:57] Miko Lee: You gave them a space. [00:16:57] Harvey Dong: Yeah. So they all came down. The only problem was, you know, there was a lot of smoking and, uh, we did, there's no, you know, tobacco type related regulations and stuff like that, right? But,  there was tea serve. some of the old men, elders would tell us talk stories, while we're drinking tea. we connected, you know,  this type of phenomenon, we found out was also happening. Other locations and places. There was community center set up in, Japanese Community Center. in J Town there was a basement workshop in New York City., so you have this, the Civil rights Movement, black power movement, ethnic studies, movements. These classes,, wanting to send students to the community. then you have these centers developing. So it shows how like movements interrelate and connect the bookstore, everybody's bookstore was a part of that, providing the information. [00:18:13] Miko Lee: So it's always been, even in its very roots, it's been based in and of, and by and for the community as a way of building in political action. Is that right? [00:18:21] Harvey Dong: Yeah. exactly. We were definitely about, Building this wave of activism by going to the grassroots, you know? and that was happening, uh, in, particularly in, in, in the African American community, the Puerto Rican community,, Chicano community. All that was, was happening where you have young people, redefining their, their purpose in life. [00:18:57] Miko Lee: and their connection with their elders. Harvey Dong: Exactly. Yeah. Miko Lee: That's amazing., I have a question that has come from my colleague, which runs, Nancy Xiong that runs Hmong Innovating Politics. And actually tomorrow, our network at AACRE, we're doing an intergenerational exchange all about organizing and it's, elders speaking with young folks about how they're organizing and how they're uplifting their community. And her question is, can you talk about. organizing has evolved over time as you go through the different life transitions, like starting a family, taking care of kids, take, taking care of parents. How do you, what, what is a way to keep a healthy work life balance with your [00:19:40] Harvey Dong: activism? Well, taking care of um, uh, elders is a very tough task cuz we're, we're dealing with that now cuz Bee's dad passed. Last month, and then her mom moved into our, our house, uh, this, this month. So, so definitely it's, it's, it's something that, that has to be, uh, addressed. I, I know back then, you know, we, we, um, we did have, um, quite a few elders, uh, relate to our organization, but we, we didn't have any specific, uh, program. Uh, other than recreation, um, showing of films, uh, celebrating holidays, uh, together and, and so forth, the international hotel tenants, um, I, I know the International hotel, um, tenants collective, they, they, they actually, uh, brought in, uh, food programs, social services. Needs, you know, things that could meet, meet the daily needs of the elderly. So, so definitely it, it has to be a, uh, Dealt with on a community-wide basis so that people aren't isolated. [00:20:59] Miko Lee: But for you personally, how do you balance work and life with all of these things that are going on? You're still a professor, you're still, you know, been running the bookstore, you've been doing your activism, you've been doing so many different things. How do you, Harvey, I know in the past you used to do Tai Chi, and I'm just wondering, are there other tools that you utilize on the daily to be able to stay sane in a crazy world? [00:21:20] Harvey Dong: Well, sometimes if I, I. Extremely stressed. I would get on a bike and ride it and I would take pictures of water. [00:21:30] Miko Lee: What is it about water that's calming for you? [00:21:32] Harvey Dong: Uh, well, the, the, if, if you ever look at the bay, the water changes, you know, sometimes it's higher, sometimes it's lower, sometimes it's blue, sometimes it's gray. So it, it does, it does, uh, make you kind of, um, think about how things. Um, and it never stops. You know, it, it's always something you can learn and pick up. Tai Chi, I, too, Kung fu, especially when we started, we were getting threats and, uh, from the. Messages. And, you know, when you started the bookstore, [00:22:13] Miko Lee: you were getting threats? [00:22:13] Harvey Dong: Oh, oh, yeah, yeah. And the Asian Community Center, we, we, because we were an alternative to the, uh, conservative establishment, um, in Chinatown, uh, there were newspaper articles and, uh, from conservative newspapers that, that, uh, something should be done. And, and, and, and, and then we, we, we did, uh, uh, participate in some activities where, um, the Dolui movement, uh, back then, I, I, I remember it was attacked by, uh, hired thugs. And so it was ver very tense times too. You know, it wasn't like, um, easy going, you know? Right. There's, there's always violence, the threat of violence, and you have to figure. How to survive, uh, preserve your, your energy and also, uh, protect, uh, the community. So what did you figure out about that? Uh, well, an elder came down and sat down with us and said, uh, I'm gonna bring you guys to, to these, uh, uh, seafoods who can, uh, teach you, uh, some martial. . Um, so, so we did that and, but, but I, I would say that the, the main thing was to establish ties and con connect and connections with, uh, the youth in the community, you know, that could be used against you and, um, know your enemies, know your enemy, uh, build allyships, um, run, uh, programs that have meaning. You know, we, we. We, uh, distributed food to, um, maybe a thousand families every month. You know, uh, Lonnie Ding, the filmmaker actually, uh, found that there was this government surplus food, and she initiated that program and the Asian Community Center provided the. So every month it, the, the, the place from front to back was filled with surplus food, And in that surplus food we would have literature, uh, uh, about resources, services. Uh, a lot of the, uh, the people who received the food were workers and when they had labor disputes, they would come to us and we would provide translation. Uh, seek out legal aid and so forth. Yeah. So [00:24:46] Miko Lee: provide the community what they need. Harvey Dong: Yeah. Food, legal services, advice. Yeah. And educate them about what's going on in the exactly capitalistic system. Yeah. Um, we're hearing words of wisdom from East Wind Books Founder Harvey Dong. We're gonna take a moment and just have a little break and listen to some music. Uh, the Yellow Pearl from. Old School Movement Song Collective Charlie Chin, Chrissy Gemma, and Joanne Nobuko Miyamoto. And we'll be back in a moment after listening to Yellow Pearl. Song [00:27:02] Miko Lee: Few. All right. That was Yellow Pearl from A Grain of Sand by Old School Collective Charlie Chin, Chris Ijima, and Joanne Nobuko Miyamoto. And we are here with the folks from East Wind Bookstore and you are tuned in to Apex Express, a 94.1 K P F A, and 89.3 KPF FB in Berkeley. 88.1 KFCF in Fresno, 97.5 K2 four eight BR in Santa Cruz and online@kpfa.org. So we are here talking about East Wind Books, talking about organizing and talking about the impacts that this has on your body. And I'm gonna actually throw the mic over to Cheryl Trong to ask a question of Harvey about, that you're curious about. Go ahead. [00:27:54] Cheryl Truong: um, hi everyone. I'm Cheryl. I work at Eastman Books. I've been working here for maybe two years now. Over two years. Um, yeah, I mean, just going back to that question of navigating this work life balance, I think there's something that's not always talked about in these radical organizing is the effect it has on your life. Kind of like a sacrifice. And while Harvey is super humble and you know, is someone who does everything with all of his heart, as I know, and Bonnie's also right here next to me on my right, who also works at the bookstore and started when I did, we've seen just within these last two years, you know, the, how much it affects. How much organizing affects you and how much you sacrifice for it. Um, something Harvey doesn't talk about often is one, like financially, like back in the day when he was organizing, he didn't have a fridge. He would put a gallon of milk on his balcony every night just to keep it from spoiling and eat bread. Um, so there's a lot you do. I mean, there's a lot you gain too. You know, the community. And that spiritual, you know, aspect of fighting for the things you believe in with people that you care about. Um, but there's also, you know, you sacrifice a lot. I mean, also, you know, b the co-owner of East Wind Books, she stays up till 3:00 AM ordering books and planning our next events. You know, they both put all of their heart into everything that they do. And while it's such a beautiful sentiment, they're also. Real life aspects as well. Um, oh, I was supposed to ask a question. [00:29:37] Miko Lee: Well, Cheryl, I think you wanted to ask about how, um, you were mentioning this to me before about how both Harvey and Bee hold all of this space in their bodies, how they take care of themselves, how they work through this, because you've been doing it for a long time. So what are the elements that keep you going day? . [00:29:58] Harvey Dong: Um, well, I just wanted to address the, uh, the milk being put up on the window. So , [00:30:04] Miko Lee: critical component. . [00:30:07] Harvey Dong: Uh, yeah, actually I, I, I did get away with doing that and I thought it was convenient, except that one day I saw a rat, um, trying to get the milk. So after that, that, that stop [00:30:20] Miko Lee: So then what did you do with the milk Harvey? [00:30:20] Harvey Dong:  Um, well, shortly after that, me and. Um, got married and she did have a refrigerator, . And so, so with that marriage we, the wonders of marriage, we had a refrigerator . But, um, but definitely, I, I, I, I think it, it is not unusual for, for activists in the sixties and seventies to, to, um, do many tasks cuz there were so many things going on. Time was co. You know, you say, uh, 1968, so many things happened in one year, um, internationally, the war nationally, um, assassination of civil rights, uh, leader, uh, Martin Luther King, uh, SF State, uh, students, uh, negotiating for, uh, uh, thorough studies, um, the, the Chinatown protests against Poverty. Um, the French, uh, student rebellion, the Zarin student rebellion. So, so time is really compressed and you feel that you, you have to do the, the best you can, you know, given the, the short amount of time. I, I, I think that people felt that they, they did have to sacrifice because of the, the fact that, uh, the world could end too, you know? And so, so, so there's that time. That a lot of the activists had, uh, back then. And, um, so some of that, uh, probably does come back and kind of, uh, define what I do. I, but lately, I, I do know that, you know, as you get older, you, you can't do so many things at. Uh, much lesser. Remember ? , [00:32:16] Miko Lee: I think you have an amazing memory. You're always spitting dates out that I'm saying. How does he keep all that in his mind? ? Yeah. Um, we're gonna get, we're gonna talk about the future of East Wind Books in a moment, but I, I wanna just go and talk a moment about like, what is a memory that stood out? Like when you, when you're just talking about how you learn martial arts, um, as a way. You have, have safety and also a sense of wellness. I'm wondering, was that before or after the whole Bruce Lee Wong jog Jack Man fight schools that were in East Wind Books. And can you tell that story to our audience about what [00:32:51] Harvey Dong: happened? Well, the, the learning of martial arts was, was actually, um, even before Bruce Lee became famous, you know, because we, there was definitely a need to defend yourself safety. Yeah. For safety. Um, but years later, uh, at East w Books of Berkeley, um, there was, um, a book event we had, um, with, uh, Rick Wing who teaches at community college. I think he's a math professor, but he was also the, uh, the. assigned by Wal Jackman to carry on the legacy of his school. And Wong Jackman was the person who fought Bruce Lee. And there's many stories about who, who won that? Wong JackMan or Bruce [00:33:41] Miko Lee: Lee won one of the most famous karate battles. Yeah. Ever. [00:33:42] Harvey Dong:  And it's, it, it, it's, it is comp continually being retold with different angles and stuff like that. But, uh, Rick Wing, um, did research on it and he wrote about it. Um, I think it's online. Um, and he invited, uh, he wanted to have a book event and we had at East Wind Books and he invited all the martial arts schools in the Bay Area and. , the first thought that came to my mind is, oh, no , what's gonna happen? Yeah. What's gonna happen? Or, or, or, how big is our space? How big is our space? And, um, would this create like rivalry between different clubs over their styles? And so, so there were TaeKwonDo, uh people, karate people, kung fu. Um, how many people showed up? Uh, about 45 or 50. Mm-hmm. and some of 'em were huge , big people, Uhhuh, and they were, uh, but we just sat around and, and, and, and people were sharing stories about their martial arts club and, and their interactions with Bruce Lee and Wal Jackman and, and, and, and, and then there's one huge, uh, Puerto Rican, uh, karate guy said, man, this. uh, I feel like a, a child in a candy shop. I, I, I'm really enjoying all these stories. , . [00:35:12] Miko Lee: So it became a talk story event. Yeah. Not just like, oh, my school's better than your school, or, he won this [00:35:17] Harvey Dong: fight. Yeah, yeah. None of that. Yeah. And, and, and, uh, people really respected each other. And when the, the, the, the, the event ended, uh, , everybody went across the street to the Taiwan restaurant, which is no longer there.Oh, yeah. Yeah. And, um, for, for a meal. And, um, one person said, I don't, I don't know what I should do, uh, because I feel that we all got together here, and this is like a. Sacred place. And then he turned around and did a bow as if he was in, in, in a, uh, a studio in Dojo, dojo, , or, good. Love it. [00:35:54] Miko Lee: Love it. That is so fun. Are there other, um, memories that have stood out for you in the 41 years of experiences that have happened at East Wind Books that you think, oh [00:36:04] Harvey Dong: wow. Uh, let's see. Yang did an event, [00:36:10] Miko Lee: Jean Yang of the graphic novelist, the Eisner Award-winning graphic novelist that did American Boy in Chinese. That's actually just about to come out as a whole series, I think, on Disney with, um, almost all of the same performers from everything everywhere all at once. But anyway, that Jean Yang, yes. [00:36:31] Harvey Dong: Yeah, yeah. He, he, he tells the story about how he, he. , um, uh, affections for East Wind Books of Berkeley because when he first started out, he created this, this zine that was, uh, stapled and he came into East Wind Books. And he said, uh, would you carry this? And I said, yeah, just put it there. But, but he went, but he went to other stores and they, they wouldn't take it cuz they thought he was this young kid. Yeah. Uh, trying to promote something that wouldn't grow or develop. Do they sell? Uh, yeah. Yeah. They sell. Do [00:37:06] Miko Lee: you have one? Um, that would be such [00:37:08] Harvey Dong: a collector's item. I think we, we, we, we sold out. Oh. But, but he always remembers that. So whenever we have an event, you know, he. ask him to do an event. He's willing to. Yeah. I love [00:37:20] Miko Lee: that. Yeah. That is so amazing. Um, okay, now tell me about what made U N B decide to close East Wind Books? Uh, [00:37:29] Harvey Dong: well, it, there's the issue of gentrification, the rent, so there's the economic part there. Uh, age is, is another part. And, um, family responsi. . Um, so we had to kind of weigh that, you know, um, I, I think one time, um, the last time we were thinking of closing it, I, at, at, at a book event. I, um, I think it was, um, uh, black Against the Empire, um, is, uh, Waldo Martin, um, um, worked on a. About the Black Panthers. Mm-hmm. and, uh, Bobby Seal was there and we, we talked about, uh, the importance of the book and the importance of the bookstore. Uhhuh . And I think I said, oh yeah, we'll, we'll be here forever. [00:38:29] Miko Lee: Alas . [00:38:30] Harvey Dong: And so after making that statement, we, we did commit for another five years on. You, [00:38:38] Miko Lee: you boxed yourself in there, , but I'm, I'm wondering you what your take is. Okay. We're gonna get back to that one second, but I'm wondering what your take is on ethnic bookstores like Marcus Garvey books and East Wind Books. It's really there. Yeah. There's, it's a, it's a hard thing to keep going these [00:38:54] Harvey Dong: days. Uh, yeah, yeah, definitely, uh, difficult, uh, largely having to do with rent and, uh, gentrification and, and we have a, um, a huge. you're in, um, net, net, net, uh, bill mm-hmm. , which means that we, we pay something like 4% of the bill for the entire building, including water, to insurance, to property tax, to Right. Uh, repairs, which is not feasible. Yeah. So it, it definitely, uh, every year it's, it's, um, increasing. Um, and then the, uh, overhead we have to deal with, uh, The payroll tax, which is important, but um, is, it's a big pill. And, and also the, um, um, sales tax. Yeah. That always comes up. [00:39:48] Miko Lee: So modern living, modern living as, uh, then the burdens of trying to just keep things going are just too much. [00:39:56] Banoo Afkhami: Yeah. But to go back to your question, Miko, um, about like, you know, the role of ethnic bookstores, uh, well, I, I can't speak for like Harvey, but I can speak on, you know, as a staff person who has seen and helped many customers through the store and also as a person, like who enjoys shopping at Eastwood and spends a portion of their paycheck back at the bookstore just buying books again. Love it. Um, , it's ethnic bookstores are really hard to come by and, you know, as Harvey like really highlighted like there's a lot of costs that just make it really hard to exist as a small bookstore without all the additional like, challenges you face. Just, you know, of like carrying a very niche selective books that you know though very important, not a lot of people are gonna. Really want to go for it, you know, because Right. It goes against, um, pop culture. It goes against like, you know, the common media stream, you know, which is centrist, if not conservative. [00:40:50] Miko Lee: Or even just taking some young person's little zine that they stapled together. and putting it on the shelf. [00:40:56] Banoo Afkhami: Yeah. You know, and supporting like local artists and everything. Yeah. Like it's, they're super important, you know. Though, you know, though we are small, um, you know, there are so many people that come into the store and are just like, wow. You know, like, I've never seen it all in one place. Right. You know, I, I like, I'm, you know, like seen [00:41:13] Miko Lee: what in [00:41:13] Banoo Afkhami: All plate, one place seen. So, you know, we feature Asian American books, but also just radical, radical books at all times. And by authors? Yes, by bipo authors. And you know, like for example, I remember, especially with like, you know, our Filipino-American population here in the Bay Area, there's not a lot of representation in media of like Asian-Americans in general, but especially anything outside of like, you know, Chinese American, Japanese-American, Korean American, like the rest of us go kind of forgotten, you know? Right. Um, and so like, you know, especially like seeing this happen with like a lot of more like, you know, niche communities, you know, like. just a few days ago, you know, there's a Phil Filipino American, uh, person, and they came into the store and they're like, do you have any stuff on, like, anythings on like Filipino, you know, diaspora, Filipino American stuff. I'm like, yeah, actually we have a whole shelf on it. You know, I added them over. There's exception on that . And like, they were so heart warmed and overwhelmed by that, and it's like, oh my God, I ha I never saw them in all in one place. You know? Like you might find like in, you know, an Alan Robles book, you know, here, or you know, you could find like this other book there, you know, but you don't. all together. Right. And when you see an entire shelf full, it's kind of magical. Um, and I remember that person, like I ended up bringing them a stool just cuz they wanted to like, flip through all the books and like decide which ones they wanted to go through, you know? And, and they ended up buying a bunch of them, you know, and it's just, it's moments like that, you know, where you remember, wow, like, this is a really important thing to have. Um, and it's really difficult to keep open, you know, because, , there's, you know, these communities are intentionally like left out of mainstream media. Right. You know, like there's, it's a constant fight to get more representation and when you're already underrepresented, you know, and like the most that maybe a common person might want to get. In the store. I don't, I shouldn't say common, but like, you know, a person who only watches mainstream media. Like they, they might come in and be like, Hey, do you have the new chan? You know, like the Chani comic book or like, do you have like, you know, like, you know, crying in Amart, although that one's really good, you know? Or like That's a good book, . Yeah. But it's like, you know, they only, what's the bestseller ones? Yeah, what's the bestseller? You know, do, right. Do you have like, , you know what, what was the other one? Bullet train. You know, that one sold. Like things like that. Right, [00:43:31] Miko Lee: right. Well, um, I love hearing that about how there will be East Wind is continuing in some way and I wonder if, um, both Bonu and Cheryl, can you talk about what is the future of East Wind Books, the brick and mortar Store we know is closing in April. Right. And, and we're inviting folks to come to the bookstore. Yeah. There's a what, tell us what's happening at the bookstore before it closes first and then where, where we are going in the future. [00:44:00] Cheryl Truong: So right when you said, asked us to start talking about the future, Harvey gave me this really funny look. [00:44:06] Miko Lee: I noticed that. What's that about? Please tell us. [00:44:08] Cheryl Truong: I mean, he's curious too, you know, because this is something really only our generation can answer. Um, so, okay. So as for now, I mean, Eastland Books is still gonna be here in the Bay Area. We're still gonna be doing our community events. We're gonna be online distributing books on a even wider reach. Now, you know, we can ship. Globally, uh, instead of just having in-store pickup, things like that. Um, [00:44:37] Banoo Afkhami: our website is asia book center.com [00:44:39] Miko Lee: and we're talking about doing some kind of apex collaboration Yes. So that we can celebrate a p i books on air as well. But what's happening if somebody walks into the bookstore right now on University Avenue, what do they see? What's happening right now? [00:44:54] Cheryl Truong: You're gonna see a whole bunch of. On for sale for $5. Wow. And we're talking actually like really amazing, incredible books. Um, so we're trying to clear our shelves. Lots of really great books are on sale for 30% off. Um, you're gonna see Harvey in the back office drinking a can of Diet Coke, even though I tell him not to. You'll probably see me or Bonoo at the front counter and we're. . Also happy that it lasted for as long as it did and will end [00:45:31] Miko Lee: strong. And then there's community events that are still ongoing. I know that you have one coming up. Yes. The Oakland Cultural Center. Asian Cultural Center. Can you tell us about that one? [00:45:40] Cheryl Truong: I'm so excited for this one. So Chiwan just re released a book called, have you Eaten yet? Recipes from Chinese American Family or something like that. Um, and then he's going to be in conversation. Amazing. Chef Martin Jann from YN Can Cook, and I think a little birdie told me that, uh, Jann is going to be doing a surprise cooking demonstration at the O A C C too, which is something I think they've never done before. So yeah, we're excited. [00:46:11] Miko Lee:  So how do people find out about coming to that event? [00:46:14] Cheryl Truong: Well, you can go on our Instagram. , uh, at Eastwood books or follow the Oakland Asian Cultural Center at Oakland Cultural Center on Instagram. Or you can go on occ.cc/events and you'll see a whole bunch of their events there too. [00:46:31] Banoo Afkhami: And you can also check out our website and send up to our newsletter, uh, which is also on our website. Um, like I said, it's asia book center.com. Uh, we post all of our events on there as well as links to purchase the books of the events. [00:46:46] Miko Lee: Um, so while the brick and mortar store is closing, you will still continue.I know East Wind Books is also a nonprofit, so the nonprofit arm is the aspect that's continuing. Is that right? Mm-hmm. . So the community center part, the community, maybe it's a virtual community or a community center at different locations will continue to exist? Yes, [00:47:09] Harvey Dong: correct. And then the, the other, um, activity that'll continue is, um, uh, the publishing of, um, books. [00:47:19] Miko Lee: Oh, great. Tell us about that. [00:47:20] Harvey Dong:  Uh, well, professor Carlos Munoz, who's active in the Chicano movement. is, um, writing a book about his, uh, life story, uh, his autobiography, and it it'll be published by East Wind Books of Berkeley. And the book covers his life from being involved in the, uh, LA student, uh, uh, blowouts. It was a huge walkout in, um, around 1968 and, um, his, uh, teaching of ethnic studies and Chicano studies. at uc, Berkeley and his activism in the Chi Chicano movement. Um, another uh, book that we recently released is titled The Power of Our Stories Won't Stop. And Who's that by? Uh, that's published by, um, uh, Helene Helen Lee. that book, uh, uh, is an anthology of. peoples of color, uh, who write about their early activism and sharing their stories, uh, to the younger generation. Oh, [00:48:37] Miko Lee: love that. That would be, that's very appropriate to our conversation today. Maybe we could do a book club on that. That sounds fun. Um, how many books has East Wind published? [00:48:48] Harvey Dong: We put 'em out on the table that day and there must be about six or seven. [00:48:52] Miko Lee: There's more than that. There's [00:48:53] Banoo Afkhami: more than that. Harvey. Those was just the ones we had on hand, Harvey. Yeah. And also like I, I was limited on table space there. Okay. You know , [00:49:01] Miko Lee: you'll see East Wind at a series of different community events that are happening. Um, I saw you backstage at Cambodian Rock Band. We. So good. Yeah, so different events. You'll see East Wind books and we always encourage folks to support local bookstores, not the big bad monsters. In [00:49:18] Cheryl Truong: addition, uh, there's a East Wind documentary in the works being worked on by Banu, uh, our good, good French Shine Lee and um, myself. [00:49:30] Miko Lee: Oh, great. What's the timeline for that, Cheryl? Tell us about the document. , we're [00:49:35] Banoo Afkhami: gonna hopefully have a teaser done by sometime in April. Um, you know, to commemorate the closing of the store. And I don't know, as of right now, I mean, there's no complete set timeline. We're just kind of, we want to capture these stories and the stories of, you know, Harvey and b and, you know, everyone involved in the movement. Um, So we actually agreed, you know, a couple weeks ago in a, in, in a Zoom meeting, sometime ridiculously late into the middle of the night , um, that, you know, we wouldn't set a 100% firm timeline for the super final product, but we will be releasing a teaser sometime in April. Um, just because we wanna make sure that we're doing justice to their stories and we don't want. Rush that process. Um, especially, you know, once we, you know, feel, like, feel out what, like the final through lines of the story are gonna be, um, and just to make sure that we do it just as, because it's such an important part of the community, it's such an important part of the Asian American movement. Um, and it can serve as a really beautiful metaphor for, you know, passing the torch and also just. Um, what it means to be an activist. So we don't want to rush that process. But, um, we're [00:50:53] Cheryl Truong: also definitely approaching it kind of with a whole bunch of seeds of curiosity. I think our hypothesis is kind of us asking how do we navigate, uh, post East One society? Not that, you know, east wind's forever gone, but just how do we move on after being impacted? Influentially by such a wonderful [00:51:16] Miko Lee: place. I love that. Thank you for sharing. Can each of you, Cheryl and Bonous, share what, who you come from, who are your people, and what is the legacy you carry with you, especially as you go into this next envisioning of what East Wind becomes? I [00:51:33] Cheryl Truong: love this question so much, right? When you asked it, Bonu, Bonu basically gave me a mental fist bump. Um, we love talking about this, so I. . I was born and raised in Long Beach, California, right? Harvey? Harvey loves Long Beach, um, . So I was born and raised in Long Beach. I come from a family of three or four siblings, or no, three other siblings, four people in total. Um, both of my parents are refugees from Vietnam. My mom left Vietnam when she was young to China, and then eventually, Had to leave China and walk or and go to Cambodia. And from Cambodia, she walked all the way to Vietnam again. Um, my dad was part of the second wave of Vietnamese boat people. He was on sea for, you know, five, five days, four nights I think, before he eventually landed in a refugee camp in Malaysia. Um, so I think our connect. I feel really similarly with Harvey, our connection to water. You know, we can trace our bloodlines through waterlines basically. Um, and yeah, we're, yeah, that's my family I guess. I have other family in Orange County as well in the little Saigon area, and my sister and I are up here in the East Bay. Love it. [00:52:52] Miko Lee: Thank you. And finally, I'd love to hear. [00:52:55] Banoo Afkhami: Yeah, so, um, my mother's actually Mexican American. My dad is Iranian. Um, he immigrated after the revolution. Um, as an artist. He was a photographer and at the time he was studying and working to be a director in cinema. Um, but then the revolution happened and there were a lot of restrictions on art, um, and self-expression. So he had a really complicated immigration story. Um, That I'm probably not gonna own to right now, but he, uh, after a lot of trial and error and years of trying, he made his way over to America. Um, and he opened a Photoshop, um, in San Leandro near the Bayfair Mall. Um, and my mom, uh, so she was Mexican American. Uh, she grew up in la um, To at the HNO family. So we're at the Hans, uh, generationally speaking. So like the border crossed us, we did not cross the border. . Yeah. Uh, we were Mexicans native to Texas. Um, and then Texas became a part of the US after my people were already there. Um, but yeah, so my grandparents left Texas because Jim Crow there was really, really awful. And, um, they moved to LA and my mom grew up in LA and. . Um, then she moved up to north, uh, northern California and she was into photography as a hobby. And so that's how my parents met. Um, my mom was his customer and so that meant for growing up in a really interesting upbringing. Um, just in the sense of it was weird, but in a lot of ways, being Iranian taught me how to be Chicano and being Chicano taught me how to be proud of being Iranian and Asian American. Cuz as far as diaspora goes, like. Um, like as Chicanos, we've been here and dealing with this type of racism for like a lot longer than the Iranian community has, where as a lot of us only immigrated in the eighties. So it really helped having, you know, people who like for generations understood what racism was to a community that was. So that's where it's like, you know, like I'm, you know, second gen in this, you know, where it's like my dad immigrated, you know, hoping to live the American dream and, you know, Now I'm the one that has to deal with like growing up Iranian American in a society that, you know, hardly wants to recognize that you exist. So in that sense, to go back to your original question of like, what does that do for, you know, east Wind or whatever, I mean, or whatever, , . Well, I don't know. I think in terms of our generation when it comes to community work, I don't feel like I can take claim. our movement. I think our movement is made up of everyone. You know, I don't think it can just be one person or, um, what I do see in terms of differences between our generation and older generations is some of the ways that we organize. Um, and also like, I don't know, we have to kind of evolve that and evolve how we trust each other. Cuz I remember Harvey, you know, would talk about how back in the day, they just had to trust in each other to show up and for us, I don't know, we have to be more creative with it. Um, [00:56:09] Miko Lee: thank you so much for sharing so much information about Legacy and about the future of East Wind Books and how we have to work together to be able to make it all happen. this is so critical for our movement, for our movement building. Webid a fond farewell to the brick and mortar store of East Wind Books. We encourage people to come there. Door closes,  in April and encourage people to get involved in all the different events that are happening. Um, that will continue to happen both online and at different locales. So find out more information at the East Wind website. You can also check out more information about. Amazing community events that are happening. There's a Women of Color Leadership conference tomorrow in San Francisco. There's the People Get Ready Political Conference at uc, Berkeley on Saturday. Cambodian Rock Bands still playing at Berkeley Wrap and Muni raised me is at San Francisco. Check those out. Um, and please check out our website, k pfa.org to find out more about these events and about East Wind Books. And we thank all of you out. Listeners, keep resisting, keep organizing, keep creating, and sharing your visions for the world. Because your voices are important. Apex Express is a proud member of Acre Asian Americans for civil rights inequality, a network of progressive AAP I groups. Find out more@acre.org. Apex Express is produced by Paige Chung Swati. Raam Anju Pret Man, Shak Jalina Keenly, and me Miko Lee, thank you so much to our engineer, Jose Gonzalez, for making this show happen. Woo, and to all have a great night. The post APEX Express 3.23.23 The Legacy of Eastwind Books appeared first on KPFA.

In the early 1970s, Chol Soo Lee, a Korean American immigrant, was falsely convicted for a San Francisco Chinatown murder and later sentenced to death. Activists led by a Korean American journalist and college students initiated a pan-Asian American movement to exonerate Lee. This largely unknown piece of history is the focus of the 2022 documentary film “Free Chol Soo Lee.” Liz Lenivy, attorney and Gateway Korea Foundation board member, joins the show to talk about the one-night screening in St. Louis.

Nick LeisureTake a walk with me down Fascination Street as I get to know Nick Leisure.Born and raised in Sacramento, Ca. Nick is a screenwriter, producer, and director. In this episode, we chat about growing up in Sacramento in his stern Asian grandparents' home, stumbling into the hip hop recording business, and breaking into the film and television industry. Nick tells us about a project that he was / is working on about Raymond "Shrimp Boy" Chow (a Hong Kong born felon with ties to San Francisco Chinatown street gangs: Triad Ho Wop To, The Hop Sing Boys, and Ghee Kung Tong. He also tells us about his being on the scene of "The largest hostage rescue operation in US history", and why he wrote and directed a movie called A CLEAR SHOT in 2019 based on this event. Then we move right into his latest film called LAST THE NIGHT starring Brian Austin Green. We discuss what the film is about, why he chose to tell this story, and what makes it timelessly relevant. Lastly, I pitch Nick a film idea based on the life story of a previous guest!Follow Nick on social media:Insta: @NickLeisure

Let's Have This Conversation has reached a crossroads. This episode marks the end of another season of telling compelling stories about the lives of Chinese American women and braving intergenerational challenges to land at a place of acceptance and understanding. Our next season will begin soon and already we're very excited about the next chapter because as always, we are committed and invested in telling stories that resonate and move us. Today, we share what we've been thinking and where we want to go as well as what we've been up to during our break. During today's conversation we focus on the current “We are Bruce Lee: Under the Sky, One Family” exhibit. Information about the Bruce Lee exhibit at the Chinese Historical Society of America in San Francisco's Chinatown: https://chsa.org https://www.wearebrucelee.org

Join Steve and Gabe as they take us back to the summer of 1986, and the tale of a rugged long-haul trucker and his kung fu sidekick as they ventured into the mysterious underworld of San Francisco Chinatown.  Would they rescue Wang-Chi's wife from the clutches of an ancient Chinese warlord, or would the evil Lo-Pan marry his bride with eyes of creamy jade, and go on to rule the universe from beyond the grave.  It's a deep-dive into John Carpenter's pulp adventure classic, BIG TROUBLE IN LITTLE CHINA! "You are not put upon this world to... GET IT!"   

On this episode, we discuss our June 2022 pick is Last Night at the Telegraph Club by Malinda Lo, an award-winning coming-of-age story about Lily, a teenage Chinese-American girl exploring her sexuality in 1950's San Francisco Chinatown. It's a book that explores the intersectionality of identity for queer children of immigrants during a time when who and how you love were explicitly illegal and misunderstood, as well as what it was like to be a part of the Chinese diaspora in the middle of McCarthyism. *Support the podcast by purchasing books at our bookshop *Follow our hosts:Reera Yoo (@reeraboo)Marvin Yueh (@marvinyueh)Follow us:FacebookTwitterGoodreads GroupThe Books & Boba July 2022 pick is Before the Coffee Gets Cold by Toshikazu KawaguchiThis podcast is part of Potluck: An Asian American Podcast Collective

This week, Diana chats with lifelong activists Pam Tau Lee and Michael Liu about their early experiences organizing within Asian communities starting in the '60s & '70s. They discuss the importance of relationships and collective care in their work, and reflect upon the evolution of activism over the decades, and offer wisdom for young organizers today.Pam Tau Lee is an Asian radical elder whose working-class and San Francisco Chinatown roots led her to a lifelong journey dedicated to environmental justice. She is a cofounder of the Chinese Progressive Association-SF, Bay Area Asians for Nuclear Disarmament, Asian Pacific Environmental Network, Just Transition Alliance, and the International Coalition for Human Rights in the Philippines-US, and a contributor to the Principles of Environmental Justice. In her nearly 5 decades of organizing and mentorship, she strives to uplift an ideology of radical love and resistance grounded in the practice of All Power to the People, Serve the People, internationalism, and women whose presence has taught her to act with generosity and courage. Connect with Pam at ptlee14@gmail.com or on Instagram @pamtaulee4081.Michael Liu is a native of Boston Chinatown and was active in numerous local anti-development, anti-war and electoral campaigns and a founding member of numerous community social justice groups including the Chinese Progressive Association Boston, Asian American Resource Workshop, and the Boston Rainbow Coalition. He later worked as a researcher for two decades at the Institute for Asian American Studies at UMass, Boston. He co-authored an interpretive history of Asian American organizing, The Snake Dance of Asian American Activism, and recently authored the first book-length history of Boston Chinatown, Forever Struggle. Connect with Michael at michael.liu@umb.edu.Bridges Mental Health is a stigma-free hub for Asians, Pacific Islanders, and South Asian Americans (APISA) to discuss, navigate, and seek mental health care in NYC.Write to us with comments & questions, we'd love to hear from you.@bridgesmentalhealthbridgesmentalhealthnyc@gmail.comCover photo by Janice ChungTheme music by Will Marshall

Act One of the play Jianchi/Perseverance is based on the outbreak of bubonic plague in 1900 in San Francisco Chinatown, which led to suspicion and demonization of Chinese who were identified with the “China plague,” a term used to describe the bubonic plague. The history of Chinese in San Francisco is a fraught affair. Drawn at first by mid-nineteenth century stories of riches to be found in “Gold Mountain” (California) just for the working, many impoverished Chinese laborers left home to escape war and famine, and to earn money to send to their starving families. Most arrived too late for the Gold Rush, so many had no choice but to become laborers for the transcontinental railroad, doing the most dangerous and least remunerative work. Little by little the survivors drifted back to cities, to try to build a life for themselves. By 1880, nearly 16% of the population of San Francisco were Chinese immigrants. They experienced daily humiliations, persecution and segregation: the 1882 Chinese Exclusion Act was the first act to ban legal immigration rights to a country on the basis of race.  After killing more than half the population of Europe during the Middle Ages, bubonic plague has taken a break as a pandemic, but it resurged in Asia in the mid-1800s, taking 6 million lives in India and millions more in southern China. Because of San Francisco's position as America's foremost Western port, Dr. Joseph J. Kinyoun, the chief quarantine officer of the Marine Hospital Service on Angel Island, anticipated that San Fransisco would be the first American city to experience plague cases before any other. Unilaterally, he instituted a new policy: all ships from Asia or Hawaii would be thoroughly inspected before disembarking in San Francisco. California's businessmen, newspapers and politicians were derisive. They accused Kinyoun of overstepping his authority and dismissed any suggestion of a potential outbreak as a “plague fake” intended to create a panic that would boost demand for his medical services. Since ship checks focused on finding infected people, for several months, rats and their plague carrying fleas went ashore from ships onto San Francisco's streets, concentrating in the city's most squalid and poverty-stricken neighborhood - Chinatown. In March 1900, the first suspected plague victim died there. For many upper and middle-class white San Franciscans, the first sign something was wrong in Chinatown on March 7, 1900, were their empty kitchens. Switchboard operators noticed next, as lines lit up with angry callers, demanding to talk to their missing Chinese servants. From there, word began trickling out around the city: Chinatown was locked down. It was only then that white San Franciscans began to remember that they had started seeing dead rats — far more than the regular count — on the streets of Chinatown in January 1900. “The Chinese were not the only people who had to suffer,” huffed The San Francisco Chronicle. “The white employers of the Chinese awoke to find that there was nobody on hand to prepare breakfast.” Responding to white outrage, San Francisco Mayor James Phelan ordered a company of doctors to make a sweep of Chinatown to track down and identify every possible plague case. This provoked terror throughout the SF Chinese community, which was well aware that just a few months earlier, 4,000 homes had been burned to the ground in Honolulu's Chinatown to eradicate a plague outbreak. After a year of waging a campaign of denunciations and denial, California Governor Henry Gage finally allowed federal officers in to inspect, test and diagnose Chinatown residents, on condition of Dr, Kinyoun's immediate reassignment out of state. On June 1st 1901, he declared victory over the “China plague.” The epidemic's official death toll is recorded as 119, but it's likely that more cases were hidden, covered up or never discovered.   In 1907, another bubonic plague outbreak recurred...

Growing up as a Chinese American daughter of a mail-order bride and a busboy working in San Francisco Chinatown, Bonnie Gray had never truly felt beautiful or beloved. She had built her life to look pleasant and ordinary, with a wonderful husband, two amazing boys, and a thriving career. But despite these blessings, she still felt the tugging emptiness of a missing piece. At 39, a long-forgotten birth certificate in an old file cabinet sparked a curiosity Bonnie couldn't ignore. Determined to uncover family secrets and understand the home she was born into, Bonnie embarked on a journey that would leave her forever changed. Returning to the culture, places, and stories that shaped her, her search led her to soul-shaking discoveries about her identity, human kindness, and what it truly means to be loved. Bonnie is on the show today sharing her memoir titled Sweet Like Jasmine. It is a profoundly moving account of how God uses our unique and broken stories to create a beautiful mosaic of His love, one life at a time. Feel seen and valued, because you are worthy of loving, resting in God's love for you. See the grace woven in each chapter of your life and embrace the wholeness of who you are. Learn to listen deeply to your life and feel empowered in your true worth. Find freedom, hope, and healing in rewriting your stories with faith. Through powerful truths and insightful reflection prompts, find beauty out of brokenness and belonging out of loneliness. Be love offerings by sharing with others what brings us joy and peace. But you first have to receive it yourself. Connect with Bonnie: https://thebonniegray.com

This is our 2022 Lunar New Year special edition. We hope you enjoy this episode and Happy New Year!Every year around late January or early February, people all over the world celebrate the Lunar New Year according to the traditional lunisolar calendar. As for the United States, in the 1950th, grand celebrations and American style parades in San Francisco Chinatown brought the concept of the Chinese New Year to the general American public, first to fight against racism and to show loyalty to the United States during the Cold War, as well as to boost Chinatown tourism business, although reinforcing the modal minority myth as well as other racial stereotypes , these public displays of Americanness during Chinese New Years celebrations contributed to a unique identity forward for Chinese Americans as well as for Chinatowns all around North America. Then, in the 1970s, American presidents started wishing the public "Happy Chinese New Year". In the 1980s and 90s, we see the transition from "Chinese New Year" to "Lunar New Year", we see an Asian American and AAPI identity emerging. Throughout these historical changes, much like the "War on Christmas", for a Chinese celebrity or an international institution, to say "Happy Chinese New Year" or "Happy Lunar New Year" can be seen as a political stance. Was there really a war on Chinese New Year? Or, should we all fight for the Lunar New Year in observance of solidarity as well as intersectionality in today's America as well as the world? Recommended Books1. Making an American Festival: Chinese New Year in San Francisco's Chinatown  By Chiou-ling Yeh2. The Color of Success, Asian Americans and the Origins of the Model Minority By Ellen D. Wu3. Scratches on Our Minds: American Images of China and India By Harold R. IsaacsThe American Presidency ProjectJohn Woolley and Gerhard PetersUC Santa BarbaraCover Photo TitleCrowd of people watching a dragon at a Chinese New Year Celebration, Los Angeles, [s.d.]Cover Photo SourcePublic Domain. Credit to University of Southern California. Libraries and California Historical Society. Digitally reproduced by the USC Digital Library.

Lunar New Year is typically the busiest time in San Francisco Chinatown, but decreased tourism and the omicron surge are causing businesses to suffer. Chronicle reporter Janelle Bitker chats with host Cecilia Lei about how the neighborhood is surviving and what its future may look like. Then, Janet Chan shares her one-woman mission to save Chinatown, one business at a time, which she's documenting on the Instagram account sfchinatown2021. | Unlimited Chronicle access: sfchronicle.com/pod Learn more about your ad choices. Visit megaphone.fm/adchoices

Author and Speaker Bonnie Gray sat down with Melinda to talk about her new book Sweet Like Jasmine: Finding Identity in a Culture of Loneliness. She shares about her own struggles with PTSD panic attacks, and making peace with her past to find her own identity in Christ. Growing up as a Chinese American daughter of a mail-order bride and a busboy working in San Francisco Chinatown, Bonnie Gray had never truly felt beautiful or beloved. She had built her life to look pleasant and ordinary, with a wonderful husband, two amazing boys, and a thriving career. But despite these blessings, she still felt the tugging emptiness of a missing piece. At 39, a long-forgotten birth certificate in an old file cabinet sparked a curiosity Bonnie couldn't ignore. Determined to uncover family secrets and understand the home she was born into, Bonnie embarked on a journey that would leave her forever changed. Returning to the culture, places, and stories that shaped her, her search led her to soul-shaking discoveries about her identity, human kindness, and what it truly means to be loved.

Author and Speaker Bonnie Gray sat down with Melinda to talk about her new book Sweet Like Jasmine: Finding Identity in a Culture of Loneliness. She shares about her own struggles with PTSD panic attacks, and making peace with her past to find her own identity in Christ. Growing up as a Chinese American daughter of a mail-order bride and a busboy working in San Francisco Chinatown, Bonnie Gray had never truly felt beautiful or beloved. She had built her life to look pleasant and ordinary, with a wonderful husband, two amazing boys, and a thriving career. But despite these blessings, she still felt the tugging emptiness of a missing piece. At 39, a long-forgotten birth certificate in an old file cabinet sparked a curiosity Bonnie couldn't ignore. Determined to uncover family secrets and understand the home she was born into, Bonnie embarked on a journey that would leave her forever changed. Returning to the culture, places, and stories that shaped her, her search led her to soul-shaking discoveries about her identity, human kindness, and what it truly means to be loved.

Sometimes the resilience of humans astounds me. On this week's episode, I talk with author and speaker, Bonnie Gray, who is an incredible model of resilience and persevering faith. In her most recent book, Sweet Like Jasmine, Bonnie recounts her past, growing up as a Chinese American daughter of a mail-order bride and a busboy working in San Francisco Chinatown. Though Bonnie's early years were fraught with verbal and emotional abuse and loneliness, she has persevered to become an encourager of others. Bonnie loves inspiring women to experience deeper intimacy with God, specifically addressing topics of soul care, stress recovery, and emotional healing through storytelling, visual arts, nature, prayer, and meditation. She has written three books and her writing has been featured in outlets such as Relevant Magazine, KLOVE, and Christianity Today.In this week's episode, Bonnie shares about her struggles with anxiety and panic attacks, what drew her to God as a child, how she's found soul care to be essential in her own journey, and how she's been able to keep her heart open to God amidst all the trials she's undergone. My hope is that as you listen today, you might know that your story matters, and that in the midst of whatever you are going through, you are seen, known, and loved.

Our speakers, Rev. Norman Fong and Rev. James McCray, will discuss their direct hands-on experience in working to address the issue of equity and justice in community development, especially around building affordable housing, engaging community members for advocacy and support, and the broader issues of economic development connected to jobs and small business support. They will reflect on how these issue exist in San Francisco and in cities around the country. Join us for a timely discussion on equity and justice in the development of cities. About the Speakers Rev. Norman Fong has worked full-time in the nonprofit arena in San Francisco Chinatown for more than 3 decades. He has served as a pastor, the deputy director of programs at Chinatown Community Development Center, and now as executive director of Chinatown CDC. Besides being an ordained Presbyterian minister, Fong is the co-founder of the Jest Jammin Band, which has been playing classic soul/R&B/Motown music for 45 years. Dr. James McCray, Jr., is semi-retired after 38 years of service in local churches and to their surrounding community, and now joyously living as a son, husband, father and grandfather in his beloved San Francisco. He says he is joyful first for the blessing of being a “cancer survivor.” Joyful also, because of the marriage to Gail Jackson McCray, a practicing attorney in our city. In the last 10 years, a surprising new venture has come along—the development of affordable housing through the building of a locally based community development corporation, as executive director of Tabernacle Community Development Corporation (TCDC). MLF ORGANIZER Gerald Harris NOTES MLF: Technology & Society SPEAKERS Rev. Norman Fong Former Executive Director, Chinatown Community Development Center, focused on addressing the issues poverty, housing and small businesses in Chinatown Rev. James McCray Executive Director, Tabernacle Community Development Corp., a developer of affordable housing in San Francisco with a focus on slowing the city's out-migration of African Americans Gerald Harris President, Quantum Planning Group; Chair, Technology & Science Member-Led Forum, The Commonwealth Club—Moderator In response to the COVID-19 pandemic, we are currently hosting all of our live programming via YouTube live stream. This program was recorded via video conference on October 21st, 2021 by the Commonwealth Club of California. Learn more about your ad choices. Visit megaphone.fm/adchoices

Our speakers, Rev. Norman Fong and Rev. James McCray, will discuss their direct hands-on experience in working to address the issue of equity and justice in community development, especially around building affordable housing, engaging community members for advocacy and support, and the broader issues of economic development connected to jobs and small business support. They will reflect on how these issue exist in San Francisco and in cities around the country. Join us for a timely discussion on equity and justice in the development of cities. About the Speakers Rev. Norman Fong has worked full-time in the nonprofit arena in San Francisco Chinatown for more than 3 decades. He has served as a pastor, the deputy director of programs at Chinatown Community Development Center, and now as executive director of Chinatown CDC. Besides being an ordained Presbyterian minister, Fong is the co-founder of the Jest Jammin Band, which has been playing classic soul/R&B/Motown music for 45 years. Dr. James McCray, Jr., is semi-retired after 38 years of service in local churches and to their surrounding community, and now joyously living as a son, husband, father and grandfather in his beloved San Francisco. He says he is joyful first for the blessing of being a “cancer survivor.” Joyful also, because of the marriage to Gail Jackson McCray, a practicing attorney in our city. In the last 10 years, a surprising new venture has come along—the development of affordable housing through the building of a locally based community development corporation, as executive director of Tabernacle Community Development Corporation (TCDC). MLF ORGANIZER Gerald Harris NOTES MLF: Technology & Society SPEAKERS Rev. Norman Fong Former Executive Director, Chinatown Community Development Center, focused on addressing the issues poverty, housing and small businesses in Chinatown Rev. James McCray Executive Director, Tabernacle Community Development Corp., a developer of affordable housing in San Francisco with a focus on slowing the city's out-migration of African Americans Gerald Harris President, Quantum Planning Group; Chair, Technology & Science Member-Led Forum, The Commonwealth Club—Moderator In response to the COVID-19 pandemic, we are currently hosting all of our live programming via YouTube live stream. This program was recorded via video conference on October 21st, 2021 by the Commonwealth Club of California. Learn more about your ad choices. Visit megaphone.fm/adchoices

This is “All Roads Lead to Chinatown”, a podcast about deconstructing settler colonial narratives in architectural history. My name is Piao Liu and my name is Elena M'Bouroukounda and we are both from The School of Architecture in Princeton University. This podcast will analyze the reconstruction of San Francisco Chinatown through two architecture cases after the earthquake in 1906, exploring how the very image of Chinatown was realized, produced, and experienced in the beginning of the 20th century. Show Notes available at: https://www.sahraah.com/race-podcast

Description:In today's episode, I got to sit down at the multiethnic table with Brennan Takayama. Tune in to hear his story as a monoracial multiethnic man with roots in both San Francisco and Hawai'i. Brennan has much insight into loving the “other,” loving oneself (and thus honoring God's good creation), and loving the land, along with many other great topics. Shownotes:Brennan Takayama is a mixed Asian man of Japanese and Chinese (Cantonese) ancestry. He was born and raised in Hilo, Hawaii where he enjoyed playing with his brothers and cousins on the family farm. His family moved from Hiroshima, Japan in the late-1800s to work on the sugar cane plantations of the Hamakua coast. His Chinese family moved from Canton to Hawaii and then California in 1870, and his mom was born and raised in San Francisco Chinatown. A documentary "Vanishing Chinatown" about his great-grandparents' photo studio has been on the film festival circuit. Two of his favorite TV shows right now are Kim's Convenience and Black-ish.btakayama on FacebookBrennan's emailGive to partner with BrennanToday's sponsor: the InterVarsity Library

Marc Pomerleau is a certified professional co-active coach, strategy consultant, speaker, facilitator, designer of live experiences, and writer and producer of short films. Marc's most recent project is his short film "Seeking Home." The film follows Marc's personal exploration of Asian identity, San Francisco Chinatown, the Asian American experience, and the desire that resides in all of us to discover who we are and what it means to be home. Marc previously worked as an executive in creative and experience design agencies. He has a masters in arts in Asian Studies and International Economics from John Hopkins University and studied abroad at Beijing University and National Taiwan University. With so many insights into the psyche and situation of Asians in America, Marc shared with us some deeply personal stories about how his awakening came to be and how he has made it his mission to empower others to become the best versions of themselves. Hosts: Cliff Hsia and Derek Kamm

In this episode we delve deep into the history, development, hidden secrets, and dark side of San Francisco Chinatown. We also talk about why Chinatowns are significant to us!

Chinatown Pretty was created by photographer Andria Lo and writer Valerie Luu, two friends who love dim sum and chasing after pretty poh pohs (grandmas).
 They started a blog after their personal project was featured as a story, Chinatown Sartorialist, on The Bold Italic. For the story they pitched, they shot portraits and interviewed seniors in San Francisco Chinatown whose outfits reminded the pair of their grandmothers. The experience brought them so much joy and inspiration that they wanted to continue capturing their unique style and stories.   Websites Chinatown Pretty   Andria Lo   Valerie Luu   Michael Jang   17.21 Women   Chinatown Pretty on Instagram     Sponsors Charcoal Book Club Lensrentals.com   Education Resources: Using Your Life to Launch Your Photography Momenta Photographic Workshops   Candid Frame Resources Download the free Candid Frame app for your favorite smart device. Click here to download for . Click here to download Support the work we do at The Candid Frame with contributing to our Patreon effort.  You can do this by visiting or visiting the website and clicking on the Patreon button. You can also provide a one-time donation via . You can follow Ibarionex on and .

Thirty-nine years ago, Vincent Chin was beaten to death by two white men. His murder prompted Black political activist Rev. Jesse Jackson to visit San Francisco Chinatown in 1984 to help speak out against anti-Asian violence. Longtime Chinatown activist Rev. Norman Fong joins host Cecilia Lei to reflect on the challenges of Asian and Black community solidarity as anti-Asian violence persists in the Bay Area. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today we hear from San Francisco writer Tienlon Ho and Brandon Jew, Chef and owner of the restaurant Mister Jiu's in San Francisco. Their book, Mister Jiu's In Chinatown came out in March, 2021.

How do you become your own person? How do you give yourself permission to accept being confused about your identity? For a unique perspective on these questions, listen to our conversation with Dr. Laureen Chew who offers profound and practical pearls of wisdom. She learned from facing challenges head-on while embracing life. From appearing in 2 films to a respected educator then named Associate Dean of the College of Ethnic Studies @ SFSU, a program she helped create in 1969, Laureen does not hesitate to be honest. Listen to Laureen describe her mom, how it felt to grow up in San Francisco Chinatown and how she became her own person. Read more about Laureen and her involvement in AAPI issues:Laureen Chew on Maintaining Vigor for Sustained Change on Asian American Issues:https://medium.com/intertrend/maintaining-vigor-for-sustained-change-in-asian-american-issues-2ae199654237Fireside Chat with Dr. Laureen Chew by a UW Hybrid MBA Student:https://blog.foster.uw.edu/mba-student-interview-with-prominent-chinese-american-activist/The Strike that Led to the Country's First Ethnic Studies Department:https://www.kalw.org/show/crosscurrents/2018-11-29/the-strike-that-led-to-the-countrys-first-ethnic-studies-departmentEthnic Studies 50 years later: Where are we now?https://www.kalw.org/show/crosscurrents/2018-11-29/ethnic-studies-50-years-later-where-are-we-nowAsian Americans PBS documentary, Laureen Chew: “I Was Trying to Figure Out Who I Was”https://youtu.be/B9LGuHDjTmQLaureen Chew's starring role in film, "Dim Sum":https://www.rogerebert.com/reviews/dim-sum-a-little-bit-of-heart-1985SFSU Profile and Contact Information:  https://news.sfsu.edu/experts/laureen-chew

In this episode, we take a deep dive into San Francisco Chinatown's Single Room Occupancy hotels, or SROs. We'll take a look at what it's like to live in such extreme density, why open space is a critical resource for residents, and how local community organizations are tackling a set of escalating environmental health crises here. 

We discuss The Circle and Warrior, two very different shows in which perception plays a big role. 02:17 The Circle (U.S.), Netflix's competition reality show about "influencers" and "catfish," is back — and season 2 is even better than the first. 17:04 Warrior, streaming on HBO Max, set primarily in 1870s San Francisco Chinatown, is a timely pick for the present age. 41:19 Plus, NOT culture notes, but instead, a brief celebration of six months of this podcast! We choose some top picks from the past half year and indulge in a little sentimentality. Let us know what you want to see from us in the future: a Patreon(?), call-ins(??), a community chat(???), or whatever else. ... Follow us on Twitter and Instagram. For extended show notes — including links that we reference, plus bonus bullshit — subscribe to our Substack. Inquiries, complaints, and recs for what to watch can go to criticismisdead@gmail.com. Music: REEKAH Artwork and design: Sara Macias and Andrew Liu Find out more at https://criticism-is-dead.pinecast.co

In today's episode, I welcome Lucas Zellers! Lucas is the podcast host and creator of "Making a Monster," and the writer and creator behind Scintillla Studio. He shares his unique perspective on art through the lens of role-playing games, and how the monsters his guests explain on his podcast share powerful truths about life. (Fun fact: this episode's cover image is the logo of Lucas' "Making a Monster" podcast!)   Get in touch with Lucas Zellers: https://scintilla.studio/ Support Artfully Told: www.paypal.me/elevateart Artfully Told links: www.facebook.com/artfullytold | www.artfullytold.podbean.com | elevateartskc@gmail.com Get a free audiobook through Audible!  http://www.audibletrial.com/ArtfullyTold Schedule your interview with Artfully Told! https://calendly.com/artfullytold/podcast-interview   Episode 47 - Lucas Zellers Lindsey Dinneen: Hello, and welcome to Artfully Told, where we share true stories about meaningful encounters with art. [00:00:06] Krista: I think artists help people have different perspectives on every aspect of life. [00:00:12]Roman:  All I can do is put my part in to the world. [00:00:15] Elizabeth: It doesn't have to be perfect the first time. It doesn't have to be perfect ever really. I mean, as long as you, and you're enjoying doing it and you're trying your best, that can be good enough. [00:00:23] Elna: Art is something that you can experience with your senses and that you just experiences as so beautiful.  [00:00:31] Lindsey Dinneen: Hello, and welcome back to another episode of Artfully Told. I'm your host Lindsey. And I am so excited to be interviewing today, Lucas Zellers. He is the host of the Making a Monster podcast, as well as a writer Scintilla Studio, and I am so excited for him to be here because he brings a really unique perspective on art. And I cannot wait to share his stories and find out so much more about all the different ways that you've dabbled in art, Lucas. So thank you so much for being here today. [00:01:04] Lucas Zellers: Well, it's my pleasure, Lindsey. Thanks for having me. [00:01:07] Lindsey Dinneen: Yeah, of course. And I would love if you would just share a little bit about your background, maybe how you got involved in art and, and then started writing and hosting this podcast. I'd just love to hear more. [00:01:20] Lucas Zellers: Sure. Yeah. So my journey as an artist is-- I always like to tell people that I'm a, I'm a chronic generalist. I started as a musician and became a writer by training and dabbled a lot in 2D design and illustration and sketching.  I spent a long time in stage acting as well. So between that, a little voice acting, a little podcasting, competitive public speaking and poetry, and oral interpretation like that. Just about every way you can use your voice for fun or profit, I've done. And most recently, all of that has sort of coalesced into the-- I guess what I'd call the 2020 expression of Lucas's artistic journey-- with the Making a Monster podcast. [00:02:04]Lindsey Dinneen: Very nice. Okay. So it's all come together. So you share with us about you're Making a Monster podcast, if you don't mind. [00:02:12] Lucas Zellers: Yeah. And that's, yeah, it's not terribly specific. The Making a Monster is a podcast I started. It's my quarantine project. And it's one of those things that has taken on more of a life than I ever thought it would. So the show looks at tabletop role-playing games, which is a whole section of art and entertainment that might, might stand out quite a bit from the, from the other guests that you've had on the show. But I think it brings together a lot of what art is and does, and how, how art intersects with people. My angle on that was, I wanted to make that, that world accessible to people who aren't interested in the hobby, especially people who wouldn't necessarily have watched "Star Wars" or " Lord of the Rings," or be at all interested in that kind of sword and sorcery genre of fantasy. So I looked at it one monster at a time. [00:03:07] I'm able to get ahold of people who do design work, sort of the backend and mechanical design for games like that. And I asked them about a monster of their choice. I never tell them which monster to bring on, and I rarely know what monster they're going to choose until we get on to record. And then we pick it apart. So I want to know what this monster is whether it's like a kind of a Hydra, or I think a good example-- I had a, a 10 Story Robots on one episode. I've got an upcoming episode with a teleporting alien dog that's just there to cause havoc. So it really runs the gamut of everything that you might find in, in fiction and heroic fantasy and all that sort of thing, goes along with tabletop role-playing games. But when you strip out the setting of it and get through to the mechanics, you find something really interesting. [00:03:56] And that is a whole field of literary analysis called monster studies, which looks at the way we have encoded culture into the things that we fear into the stories that we tell about the things that we don't know or should be afraid of. So that's what Making a Monster does is take a look at these monsters that really, you wouldn't think this holds up to academic scrutiny or kind of a deep moral analysis, but they always do. And that's the heart and soul of the show. [00:04:26]Lindsey Dinneen: Wow, how fascinating. I mean, I love it. I have not dabbled too much in that particular world, but it's fascinating to me. And I mean, I grew up watching "Star Wars," and "Lord of the Rings," and all those good things. So I definitely have an appreciation for it, but I haven't done the gaming aspect of it. So this is so interesting. So, okay. So I'm just so curious. I was really intrigued by the idea that makes complete sense, thinking about it in terms of, you know, the psychology sort of behind it, but yeah, are there any particular examples that stand out as when you kind of dove deeper you, you recognized something unique? [00:05:09] Lucas Zellers: Yeah. Probably the best example or, or I think the moment I knew it was going to be more than just sort of a "chill, we happen to have the same hobby" kind of podcast was when I started talking to someone about Dagon and I should, I should preface this conversation by saying that we're going to get into kind of the deep lore. And there's, there's a lot that might not tie this to the average listener, but what I hope, what I hope to kind of bring out of this all is that Dungeons and Dragons and tabletop role-playing games are kind of a new home for art and artistic expression. I believe that art needs an audience and that the best audience is often other artists. [00:05:54] So games like this tend to gather artists together at the table, artists of all different stripes, people who value a wide variety of different ways of expressing themselves and being together at the table. And when you put them all together, they tend to do some really interesting things because we get some of that reward. Some of that immediate feedback that you would have from an audience, it's the same thing that's embodied and applause, this, this sort of give and take of improv theater and fine arts and visual arts or artistic design and storytelling. And I knew all of that going in, but the thing that, that made me realize there was this other dimension to it of truth and the way that we tell it to each other, it was when I started interviewing a guest about Dagon. [00:06:38] So Dagon, the way he wrote it was a sort of demon prince of one of the many, many layers of hell in the certain setting of this game that we were playing. And I thought that was enough. But it had come to that game as so many things due from the works of HP Lovecraft, who's notorious for having invented the genre of cosmic horror, and a lot of great work is being done in that. And it's becoming more and more mainstream. It was a primary feature of " Stranger Things." Several shows on Netflix, "Lovecraft Country" on HBO-- a lot of people are playing in this space and bringing Lovecraft's work into, to new and better ways of looking at truth and literature and design. [00:07:20] And I thought that was it. We did this whole interview that connected Dungeons and Dragons to Lovecraft, and I was satisfied. And then I put it on the internet and the hive- mind of the internet, of course, showed me things that I had missed. And it turns out the Dagon is not just the name of a story that Lovecraft wrote. In fact, his first story that he had published, it's also the name of an ancient Palestinian deity. Now I have some work to do. Yeah. I had to find someone who was both interested in Dungeons and Dragons and was willing to talk to me, and also was able to sort of connect the dots on ancient Canaanite religion. And that Venn diagram is very slim. But I gotten connected to a friend and he was able to show me how Dagon had sort of appeared over and over again in time. He's in several places in the Bible, one of which most remarkably I think was in Jonah where he's never mentioned by name, but he is the god that was worshiped, we know from archeology, at the city of Nineveh. [00:08:24]And that connects him back through a lot of various ways to the way in which Israel would look at their god is a God of order and Dagon then was the God of the Philistines and was therefore a God of chaos and he was tied to the sea. So it's interesting that you say "dove deeper," 'cause that was really what happened and that sort of battle of chaos against law where a monster would come up out of the sea and be defeated by, by law and order, and Shalom is a motif, is a theme, that's repeated all the way from Genesis to Revelation. So it's about as old as a story can be. And I just found it lying around in a tabletop role-playing game. [00:09:06]Lindsey Dinneen: Wow. Yeah. Oh my goodness. That story is fascinating.  It's so cool. I love it. I love that, you know, like you were saying, this motif, this theme has been around forever. Well, maybe not quite forever, but just so you know, for a really long, a long time and the idea of people taking the essence of it and bringing it into what's now a game. But it still has significance and history behind it. That's really interesting. [00:09:35]Lucas Zellers:  Yeah. Even more so now, because we all have a handle on it. It took me forever and I, I don't think I would have engaged with Dagon and all of the themes and meanings that he has along with him that go back to some of the stories that account for the creation of the world. If I hadn't had this other sort of handle to hang on it or to, to hold it with-- if I hadn't been introduced to the concept and the name in this other way. So, so that kind of work is happening all the time in Dungeons and Dragons and the tabletop role- playing space where people are really starting to think very strongly about what makes a villain and what makes a hero, and whether that should be how we should understand that. And whether our understanding of that should change from what it was in say 1974, when the game was introduced. So there's a lot of excellent work that's being done in terms of the way that we express truth to each other. And I think that's the, that's the province of really good art. [00:10:31]Lindsey Dinneen: Yeah, I absolutely agree. And you had mentioned, you said it in a really particular way, which I am now not recalling-- but I'm sure you will-- about, you know, one of the things that's been interesting to you is discovering the way that we tell truth to each other or something along those lines that I get that kind of thing. Yeah. So, yeah, I'd love to learn a little bit more about what you mean by that, because I think that's a really interesting concept. [00:11:01] Lucas Zellers: Sure. I think one of the ways in which this sort of taught me about truth and the way we tell it to each other was the interview that I released as the very first episode. So I did a batch of them. I did about six interviews before I launched the podcast because I wanted to make sure it would work. It wasn't the first interview I recorded, but it was the first one I released. It was about a game called "Jiangshi: Blood in the Banquet Hall," which was a remarkable little game that went through the, the Kickstarter. It was launched on Kickstarter where so many board games and role-playing games are these days. It's a game that was written by a team of American immigrants. And it focused on-- the, the setting of it is in 1920s, Chinatown, which I think was in San Francisco. And there are several other immigrant communities represented in the game as well. [00:11:51] The titular monster, the Jiangshi, is a Chinese hopping vampire. And you'll find the aversion of the zombie in just about every culture across the world. A zombie or a vampire, we've been telling that same story to each other in many, many different ways. But this one is, it's about, so in this part, telling a vampire will feed, not on a person's blood directly, but on a person's life force, right? Or what the designer called chi, soul, if you will, being able to draw that directly out of them. And the, that story and the setting and the way the mechanics of the game work all work together to represent that drain as a drain of identity or cultural heritage or memory. So that this monster is taking all of those things out of you until you become sort of a gray featureless personality- less person that is in fact also as Jiangshi. And it's a great way of talking about cultural eraser. A lot of the things that were happening in sort of the, the San Francisco Chinatown phenomenon in the 1920s were represented really, really well by the work that she was doing. And I don't think I would ever be able to represent well in conversation, the experience of a Chinese American immigrant in 1920s, or even the experience of the descendant of a Chinese American immigrant in 2020. But I can say too, but we could play this game together. And I might ask, is racism a zombie though? And you would know exactly what I was talking about. [00:13:32]Lindsey Dinneen: Yeah. Wow. Yeah. So the, kind of the idea of people expressing truth and their own experience, their own truth through a game, which provokes this conversation. And so that's what is so cool about all of these experiences and these people that you're interacting with it sounds like. Did I get that about right, yeah? [00:13:59] Lucas Zellers: Yeah, and art picks up where words leave off many times, where or sort of in a loop with them. I think you, you'd be able to speak to this as well that dance expresses emotion in ways that other art forms can't. So when you go through this experience of playing Jiangshi, these truths stick in a way that they wouldn't if you had encountered them in any other way. It's why I remember Dagon fondly, not just as sort of an artifact in a museum, but as something that's a part of my personal experience and growth as a human being who understands the other human beings in the world. The same version, if I'd been able to play that game, you know, it becomes a part of my own experience becomes richer in my memory and imagination than it ever otherwise would have been. [00:14:45]Lindsey Dinneen: Absolutely. And one of the things that I think is so amazing about art is that it can open up conversations that would otherwise be very difficult to have. But when these themes and these issues are expressed through art, sometimes that's a gentler way of opening up these conversations that should be happening, but are, are difficult, you know, rightly so. And so I think that that's just such a cool avenue for just starting the conversation that that should take place. Yeah. So cool. Well, I love that. And, okay, so obviously I need to listen to your podcasts because it sounds fascinating. I'm just so intrigued. [00:15:29]Lucas Zellers: I spend quite a bit of crunch time on it or what the gamers will call crunch. So there's, there's a, there's a big portion of this that's of the podcast-- it's not gonna make sense unless you've played this game or that game. And I hope that that's not an obstacle to you, partly because I think that's another way of coding truth. So, you know, the, the level of like assigning a numerical value to the thing that this monster is, or does is an art form all unto itself. So that is a part of it, but don't let it scare you. And also if you're not playing these games, it's not what it was in 1974 or 1985 or 1999. It has a very different identity than it ever has. I think it's for more people than it ever was. I think it's smarter than it ever was. And I think it's way more beautiful than it ever was. So my hope is that while you're listening to the podcast, any sort of preconceptions that you have about role-playing games and the people who play them, you'll be able to sort of leave those at the door and discover something new. [00:16:30] Lindsey Dinneen: I like that. Very good. Very good. Well, I'd also love to explore your writing a little bit, because I know that you also do that. So do you mind sharing a little bit about your experience writing and maybe what you write about? [00:16:44] Lucas Zellers: Yeah, I'd be happy to. So Making a Monster is one of several projects that I've launched through Scintilla Studio. It's kind of my incubator. I, I built it so that I don't have to set up a separate website for everything I want to try. For a while there, I was a blogger when I thought that was still kind of the, be all end all of internet discourse. In 2018, I, I put out an album, just an EP of four songs that I recorded with some friends, all originals, which was a fascinating experience. And I do little things like that all the time. And I needed to have a place for them. So they all kind of live on scintilla.studio, Making a Monster being kind of the newest project. But the thing that ties them together is, is something else that, that sort of became obvious when I was doing the podcast. I've learned enough about that field of literary analysis called monster studies to know that one of them, the basic assumptions of that is that the monster's body is a cultural body. [00:17:42] In other words, the monster is a product of the culture that tells it, it carries with it, all of the, the values and associations that that culture has. It's why Godzilla happened in Japan. Or, or why the jackalope happened in America on the frontier or, or John Bunyan or, or the Oz stories that are sort of uniquely American fantasy. I, I believe that that language of an ecosystem of idea and, and culture where, where stories and arts are, are kind of a species that evolve and change over time, and fit the ecosystem that they grew up in. I think that applies to creativity as well. So the kind of conceit of Scintilla that kinda pins all those ideas together is that creativity is an ecosystem. You have to build a habitat for it. Find, fill a place in your life, both your physical space and your routine  for that art to live. And then you have to give it the resources that it requires, whether that's time or energy or consumables, or just attention. And then you have to protect it from poachers because there are things that are going to come into that creative ecosystem that have a right to be there. You have to make food and raise your household and sometimes take a shower. Like there are things that have a claim on those resources, but there are also things that don't, and you need to cut them out. You need to be serious with yourself about what you're allowing to grow in this sort of creative ecosystem. [00:19:15]So step three of four then is to kind of push the snowball. I think art for most people is, not like you said, this sort of one-off thing where you might experience it as the recital or the show or the finished piece where behind that is just thousands and thousands of hours of unfinished recitals and failures and attempts and sketches. So art is not the kind of thing that you do, and then you are done. It's the kind of thing that you push and make incremental progress as if you're pushing a snowball. So you build on your past successes and experience and then finally recycle. Because I believe that's important to every ecosystem, but I don't think art is ever wasted. If you finish a project and it is not as successful as you would have liked it to be or it didn't achieve the goal that you thought, it's never wasted effort. Because all of that comes back to you. It's an expression of who you are or who you were at the time, if nothing else. So a lot of the projects that are on Scintilla are things that I might never revisit or that didn't grow in the way that I hoped they would. [00:20:21]But they all became the compost in which I'm growing other art, the same as all of these stories that we've inherited over time, the rich loam of storytellers before us sort of laid down by time and culture that, that proceeded us in the way that Dagon did. So, yeah. Scintilla is kind of this meditation on the way art is done by the common man and sort of a handbook for the way you can do it in a way that's fulfilling and sustainable. [00:20:50]Lindsey Dinneen: Oh, I love that. And I just really appreciated your description. I think it's so important, you know, as an artist, to not trash all your previous attempts at things, even though you might look back and cringe sometimes. I mean, we all do that, of course, but I love what you were saying about like, but  it was your best at the time and, and people, and we grow and we change and we learn and we, we evolve, but it's not bad. It's just like you said. And even if you really think it was garbage, like you said, that's still compost for future things to grow. I love that. Oh my goodness. I'm going to definitely adapt that, and you know, use that with my students when I teach them the idea that nothing is ever wasted. [00:21:41] Lucas Zellers: It's so freeing. You look back at pictures of yourself and you cringe. And I, I have a lot of charity for my past self and I wish other people would too, ' cause it's who you were and it, it also gives you this kind of beautiful motivation to be the best you can be right now. And if you're making art in that way, you never have to be ashamed of it. [00:22:02]Lindsey Dinneen: Yeah. That's beautiful. I talk with my students sometimes, and just in general, with people about, you know, your job is to do your best every day, but your best looks different every day. So, you know, some days it's when things are tough, it's getting out of bed and taking a shower. And that was your best for the day. And that's okay, you know. And other days you're going to have these bursts of creativity and the energy. And so your best of the day might be creating this fantastic painting, but that's not, you know, necessarily even realistic for every day. So it's just do your best every day. And then, give yourself the grace that not every day will look the same, I guess. [00:22:44] Lucas Zellers: Maybe a more typical example is that you've caught me on what I think of as a good voice day. Like my voice sounds good right now. It's, it's early afternoon on a Saturday and I like the way my voice sounds. That's not always true. Certain days, some days it's a raspy broken down tenor that I'm kind of sad to be carrying around, but that's particularly the voice, which is so sensitive to the way you treat every aspect of your body. It really reflects who you are at the time. Yeah. To know that. And then watch your voice change day by day and hour. It sort of helps you realize that you're not just, you know, one person and you're not finished. And just because you weren't good now or then doesn't mean that you're not good now. [00:23:29]Lindsey Dinneen:  I love that. Yes. Perfect perspective. Okay. So good. Thank you for sharing that. I think that's so encouraging and I think that's so encouraging for artists who might be struggling, you know, some days and to realizing, to give themselves grace and, and it's, it's okay. [00:23:48] Lucas Zellers: Because every voice is valuable and no voice deserves to be lost. And I hope that by giving people a way of eliminating that divide between themselves and an artist, that more voices will grow and that people will be more charitable to themselves and, you know, not paint over their own paintings or slash their canvas or, or whatever. [00:24:11]Lindsey Dinneen: Yeah. I had a professor in college who used to say that you were allowed to throw your pointe shoes in the trash every day, as long as the next day you would come back, pick them out and  I liked that. Yeah. Perfect. Well, thank you so much for sharing all of that. I just love your perspective on art and the way that you're sharing it in such a unique way. So thank you for all of that. Thank you for just being that kind of blessing to the world.  I really like what you're doing and I value it. Thank you. [00:24:42] Lucas Zellers: Thank you for saying so, and thank you for taking a chance on the D&D guy on this particular podcast. [00:24:47]Lindsey Dinneen: No, of course, like I was sharing with you before the show, I just love art in general. So I'm happy to talk about it in any new way or anyway, anytime. Well, so if our listeners are interested in connecting with you, listening to your podcasts, reading some of your work, is there a way for them to do that? [00:25:09] Lucas Zellers: Absolutely. Best place to go is to my website. It's scintilla.studio. That's S C I N T I L L A.studio. If you're looking for the podcast, you can tack on "slash monster" to the end or you can search for Making a Monster, literally, wherever you get your podcasts. I think I'm on 20 platforms and counting. Most recent addition was Pandora and I was very proud to be on Pandora. So I'm everywhere you want to be. [00:25:36]Lindsey Dinneen: Perfect. I love it. Okay, fantastic. Well, we will definitely be doing that. And if it's okay with you, I ask the same three questions to all of my guests. Are you up for that? [00:25:48] Lucas Zellers: Yeah, let's do it. [00:25:49] Lindsey Dinneen: Awesome. Okay. So the first one is how do you personally define art or what is art to you? [00:25:57] Lucas Zellers: Yeah. So for a while, I tried to come up with, with my own definition of this and I was sort of laboring under the impression that a definition that I hadn't written wasn't authentic. But I found one that I really liked. Elaine de Baton wrote this in his book," The Pleasures and Sorrows of Work." He said, "art is anything that points our thoughts in important yet neglected directions." [00:26:21]Lindsey Dinneen: All right. I love that. Never heard anything quite like that. Thank you for sharing that quote, that fantastic. [00:26:30]Lucas Zellers:  It's incredibly useful to me because it doesn't say what art is, so much as what art does. And I think that's a more important way of defining it. [00:26:40]Lindsey Dinneen: Yeah, absolutely. I agree. Perfect. Okay. And then what do you think is the most important role of an artist? [00:26:49] Lucas Zellers: If we use the same definition, then the role of an artist is to tell us what to think about. And I think my experience with monsters and the study of them and sort of the practical use of monster theory is that art gives us a way of saying things that we couldn't say, or feeling things that we couldn't feel or experiencing things that we had no other way to experience. [00:27:15]Lindsey Dinneen: Yeah, absolutely. Okay. And then my final question, and I'll define my terms a little bit, but do you think that art should be inclusive or exclusive? And what I mean by that is inclusive referring to an artist who puts their work out into the world and provide some context behind it, whether it's a title or program notes or just the inspiration for it, versus exclusive referring to an artist who puts their work out and doesn't provide context behind it, so it's left entirely up to the viewer to decide for themselves. [00:27:54]Lucas Zellers:  Yeah, it's a great question. And I think the answer is frustratingly the same as the answer is always, it depends. I want there to be art that does not hold my hand, but demands of me the attention and intensity to discover its meaning. But for the most part, I think that art should be inclusive of context at least because of the art that I'm trying to make. So a huge portion of what makes my podcast work. And the reason that I have it is that I have to go back and pick up the scattered pieces of context that are left like a trail of breadcrumbs through time by given pieces of art, by given stories that have traveled across out of their own context and into others and out of their own time and into new ones. And that investigative process is incredibly rewarding. I think there's a lot of risk when you don't make that stuff obvious to people, 'cause then you have to have someone like me come back and pick up the pieces and lay them out for you and show you sort of the journey of Dagon over time or the identity of a Jiangshi. And that's a different kind of art. Like if I have to show you that alongside the actual artistic experience, those are two different things. So it depends, but for the most part and for the art that I want to make, I think it should be inclusive. [00:29:23]Lindsey Dinneen: Yeah. Good. Perfect answer. Not that there's a wrong answer. I think it's all subjective, but yeah, but I really like that answer. [00:29:34] Lucas Zellers: Yeah. It's one of those dilemmas that you've set up that it's kind of a false dilemma in that these two are not mutually exclusive  nor is there a right answer between them. [00:29:45] Lindsey Dinneen: Exactly, exactly. And the whole idea behind the question is just to see what people think. So, and you're right. They're not mutually exclusive, but it's, it's fun to hear different perspectives on that 'cause, you know, just like art, there are lots of opinions as to where context is really important and where it's not needed. And I like your idea of you want some art to be demanding of you, that you you really explore it and you think about it for yourself. So yeah, I really liked your answer. That was great. Well, thank you so very much for being here today, Lucas. I just really appreciate your time and your sharing your stories, and I'm excited to check out your podcast. I highly recommend that anyone listening to this episode does so too, and yeah, just, just thanks again. I really appreciate it. And if anyone is interested in sharing this episode with a friend or two, of course, I would love that. And thank you and have the most amazing day. [00:30:54]If you have a story to share with us, we would love that so much. And I hope your day has been Artfully Told. [00:31:04]Hey, Artfully Told listeners, Lindsey here. And I just want to share with you a little bit more about the SpeakEasy Method. Now, if you've had a chance to listen to Gregg Gonzalez' interview on Artfully Told, you're already a little familiar with the process that is so unique, so cool that is the SpeakEasy Method is for people who are ready to write their books, but maybe aren't super confident about their own writing ability, or just want a more streamlined way of doing it. Gregg and his team at SpeakEasy are experts at these amazing questions that help your authentic voice to shine through. So what they do is they go through recorded audio interviews with you and these recordings are then transcribed and put into manuscript format ready to go. So what's cool about that is instead of months and months, or years and years of you writing a book, they will actually take you from concept to published and it can be as little as nine months. That is one of the most recent success stories that they have accomplished. And it is just a really innovative method that I am personally so excited to help represent and help share the word about because what Gregg and his team are doing is absolutely life-changing for prospective authors. And I highly encourage you to book a discovery call with Gregg  or another member of his team to learn more and see if this could be the perfect fit for you. It's a hundred percent complimentary and you can do so easily by going to his website and that's www.joy-ful-iving.com/speakeasy. And again, that spelled out is J O Y dash F U L living.com/speakeasy.

This episode introduces some key players in the story of the Chinatown Massacre, and gives some background about the social and political conditions for Chinese Immigrants in Wild-West California. Yut Ho and Ah Choy are based on historical figures. For more information about them, a great resource to check out is https://amzn.to/3qEyqsj (“The Chinatown War,” by Scott Zesch), who has collected and attempted to decode a number of primary sources contemporary with the events in this story. Accounts of the lives of Chinese miners are scarce and unreliable. The  closest thing we have to a primary source (in English) is http://www.sfmuseum.org/hist6/chinhate.html (this stunningly racist essay) by author Henry Kitteridge Norton, published in 1924 and transcribed by the San Francisco Museum: This and other similar sources supplied the material on the lives of Chinese miners. Historically, no murders of Whites by Chinese immigrants were recorded...until the day of the massacre, as we shall see. However, that doesn't mean it didn't happen. A wonderful fictional account of Chinese miners can be found in the Ken Liu story “All The Flavors,” published in http://giganotosaurus.org/2012/02/01/all-the-flavors/ (“The Paper Menagerie and Other Stories” (2016) and available online for free). Prostitution was actually much less prevalent in Chinatowns across California than politicians made it out to be in the late 1800's. However, it was a constant danger for those few young women who made it through immigration. The old woman from the Huiguan (“benevolent association” in Cantonese) is fictional, but I have seen the Mahjong Halls of San Francisco Chinatown, and received the brutal solicitations for prostitution that hound young Asians of many genders across America, to this day. The Characters are presented as speaking in Cantonese, rendered as an accessible, 20th-century English familiar to the listening public. So much for Historical Verisimilitude. Here is a basic lexicon for transliterated terms used in the story: Gwailo: Translating as something like “ghost” or “foreign ghost,” it refers to western would-be-colonizers in China. Also used in the US, by such figures as that APB-busting superhero, Ghostface Killa. Mei: a common Chinese diminutive for younger sister Huiguan: A communal association designed to help get new immigrants on their feet. Often possessed of premises; a kind of outside-the-law town hall. If you have questions, thoughts, your own family stories, or historical context to share, please send us a message at @bloodongoldmountain on http://www.facebook.com/bloodongoldmountain (Facebook) or http://www.instagram.com/bloodongoldmountain (Instagram).  ----- Blood on Gold Mountain is brought to you by https://services.claremont.edu/holmes-endowment/ (The Holmes Performing Arts Fund of The Claremont Colleges), https://www.pomona.edu/administration/pacific-basin-institute (The Pacific Basin Institute of Pomona College), https://www.scrippscollege.edu/offices/officesservices/publicevents (The Office of Public Events and Community Programs at Scripps College), https://www.scrippscollege.edu/departments/music (The Scripps College Music Department), and https://necmusic.edu/em (The Entrepreneurial Musicianship Department at The New England Conservatory).  Blood on Gold Mountain was written and produced by Yan-Jie Micah Huang, narrated by Hao Huang, introduced by Emma Gies, and features music composed by Micah Huang and performed by Micah Huang and Emma Gies. A special thanks to https://www.linkedin.com/in/sheilakolesaire/ (Sheila Kolesaire) for her critical PR guidance and to https://twitter.com/evoterra (Evo Terra) from https://simpler.media (Simpler Media Productions) for his immense expertise and support.  ----- More details at http://bloodongoldmountain.com (bloodongoldmountain.com) Connect with us on http://www.facebook.com/bloodongoldmountain (Facebook) and...

A group of students and alumni brought North America's oldest Chinatown into the Minecraft world in order to preserve its rich history.

A group of students and alumni brought North America's oldest Chinatown into the Minecraft world in order to preserve its rich history.

Big Trouble in Little China is a 1986 American fantasy martial arts comedy film directed by John Carpenter and starring Kurt Russell, Kim Cattrall, Dennis Dun, and James Hong The film tells the story of Jack Burton, who helps his friend Wang Chi rescue Wang's green-eyed fiancée from bandits in San Francisco Chinatown.  They go into the mysterious underworld beneath Chinatown, where they face an ancient sorcerer named David Lo Pan, who requires a woman with green eyes to marry him in order to release him from a centuries-old curse For more WesWes Network podcasts go here: https://linktr.ee/weswesnetwork --- Send in a voice message: https://podcasters.spotify.com/pod/show/thelatereturnsfilmreview/message

Welcome to episode 3 of the To Do San Francisco podcast!In this episode:Playing in San Francisco - Chinatown (with guest Ed)Mister Jiu's restaurantHunan Home's for some steamed chickenSan Sun for Hainan chickenGolden Gate Bakery for egg custard tarts (open hours can vary day-to-day)Eastern Bakery for moon cake, coffee crunch cake, or many other tasty options!Living in San FranciscoJamie shares his usual walking path that goes through Chinatown along with North Beach, Fisherman's Wharf, and The Embarcadero Pedestrian Promenade back to Market Street.Walk on Market Street to start of O'Farrell/Grant Street and stick with Grant Street (bends to the right)>Walk up Grant Street to Broadway and turn right on Broadway >Cross Columbus Avenue and turn left to go further north until you run into Washington Square Park>On the northwest corner of Washington Square Park, find Powell Street at Filbert, and resume walking up Filbert to Pier 39/Fisherman's Wharf>After you finish exploring Pier 39/Fisherman's Wharf, head east along Jefferson Street/The Embarcadero  until you reach the Ferry Building > Walk across the plaza in front of the Ferry Building's clock to get back on Market Street heading west towards Union Square.Victoria Pastry is a great spot for some biscotti, Italian cookies, and cakes (try the St. Honoré for a special occasion!)Have a San Francisco based small business or performance group that you'd like considered for free promotion on the To Do San Francisco podcast?  Please leave a voicemail at 415-633-6683.Have a great week!jamie

In today's episode, we continue exploring the video game Indiana Jones & The Staff of Kings with level two, San Francisco Chinatown. As Indy travels to search for Professor Kingston, he encounters an artifact called the jade sphere. However, he quickly realizes that the Germans have already captured it and that Magnus Voller must be involved. Opening music excerpt was composed by Gordy Haab and is titled "Chinatown Alley Fight"

Riffs on Taylor Swift, ESPN, shit-blame-shifters and ESPN populate the day's airwaves. After that nonsense, Dave and Trav take a casual jaunt to San Francisco Chinatown to review the 80's cult classic, John Carpenter's BIG TROUBLE IN LITTLE CHINA, starring Kurt Russell and Kim Cattrall. RIP MoviePass & Eddie Money, though probably not in that order.

Directed by John Carpenter and starring Kurt Russell, "Big Trouble in Little China" (1986) is a goofy, entertaining, and unique action film about supernatural ancient Chinese sorcery in San Francisco Chinatown. In this first ever listener requested film review edition, we talk about the original writers of "Big Trouble in Little China" and what their Western type plot vision was, how the film is an inverse to the formula of most modern action stories, how the "Mortal Kombat" franchise drew inspiration from Lo Pan's bad guys, and run through major plot points of the movie. And a remake with The Rock?Created by Drew HellmichWritten by Drew, Matt, and Bryan HellmichProduced by Drew HellmichMusic by Bryan HellmichEdited by Drew HellmichFollow us on Instagram:https://www.instagram.com/screenplay_junkie/Check out Bryan's music on SoundCloud here:https://soundcloud.com/pheelsmusic

The hilarious, startling biography of Phil Proctor, the co-founder of the legendary satirical comedy group, the Firesign Theatre. Includes over 120 rare photos, illustrating his work in comedy recordings, TV, film and even the Broadway stage.Phil, with Peter Bergman, Phil Austin and David Ossman, predicted reality TV, hackers, computer viruses, virtual reality, the fall of the Soviet Union, 9/11 and more. Look for these major moments of mind-melting madness in Where's My Fortune Cookie?:Phil and Firesign partner Peter Bergman survive a mass shooting in a San Francisco Chinatown restaurant, predicted months before by a psychic friend.Phil's first film, Henry Jaglom's A Safe Place, with Orson Welles and Jack Nicholson, and wild interactions with Steve Martin, Mel Brooks, Jerry Lewis, Bob Marley and many more.Revelations of psychic phenomena and contact with extraterrestrials that begin in Phil's childhood. See acast.com/privacy for privacy and opt-out information.

Director John Alan Thompson joined us to discuss the film project we worked on together, “One Family.” John discovered he wanted to be a filmmaker at 15. A video production class in high school and seeing “Apocalypse Now” propelled John to start experimenting with filmmaking. His teacher told him about a competition that AFI was hosting for students, and his senior year John created a short film that ended up placing. After that first taste, John dove into filmmaking. John still mostly works in short formats, creating music videos, commercials, and short films, including the short film he made with the Bruce Lee Family Company “One Family.” This project came to John during a time when he was feeling creatively depleted and filled doubt about some life choices. When he started reading Bruce’s philosophy, it was exactly what he needed to hear at that moment in his life. John absorbed from Bruce that fundamental part of living is finding that true essence inside of you and expressing it to the world. For the “One Family” film, Shannon wanted to share this story of the fight between Bruce Lee and Wong Jack Man, a pivoting moment for Bruce that hasn’t been told well. The biggest challenge with creating “One Family” is that we didn’t have any footage we could use. This challenge of recreating the fight through non-traditional means intrigued John. He pitched the idea of using old photographs and animating them, which proved to be complicated since we didn’t have an animation budget. No one moves like Bruce Lee, so the creative puzzle was how to represent the energy, movement, and flow of Bruce’s fighting. When Bruce had a school in Oakland, he was challenged by the San Francisco Chinatown community because he was teaching his martial arts in a very brash way and teaching it to anyone who wanted to learn regardless of gender, race, or background. That was not done. The Chinatown community wanted him to stop teaching to non-Chinese so they challenged him to a fight. They picked their champion, Wong Jack Man, and came down to the Oakland school for the fight. Shannon’s mother, Linda, witnessed the fight. Bruce won the fight in 3 min, but the take away for him was that his traditional kung fu training didn’t prepare him for actual combat outside of a competition environment. This opened Bruce’s mind to needing to look at Kung Fu and his approach to combat as well as to training and being in the right kind of shape. Bruce won the right to continue teaching whoever he wanted and continued to do so. He truly believed that we are all one family, all of us humans, no matter our backgrounds, ethnicity, gender, or orientation. This is why the film is titled “One Family.” #AAHA Paul Kariya is a Japanese Canadian hockey player that played in the NHL from 1993-2010. He played for four NHL teams, Mighty Ducks of Anaheim, Colorado Avalanche, Nashville Predators, and St.Louis Blues. He still holds a few team records for Ducks and Predators. NHL First Team All-Star three times, Second Team All-Star twice. Kariya's international resume includes Olympic silver in 1994, and gold in 2002 with Team Canada, World Championship gold in 1994, silver in 1996, World Junior Championship gold in 1993. He was elected to the Hall of Fame on 26 June 2017, and is the first Asian player to be inducted to the Hockey Hall of Fame. #BruceLeeMoment From listener Dan V.: “Growing up as a young child was not easy for me. Never knowing my father and only living with my mother until I was four years old, it was a very difficult time for me, as you can imagine. In 1970 I was forced to live in a shelter until I was nine years old. It was in those years that I was taken in by Bruce Lee's philosophies through his movies. He inspired me to take up martial arts; I loved the energy that was linked to his Philosophies.” Share your #AAHAs, #BruceLeeMoments, and #TakeAction progress with us at hello@brucelee.com Find the full version of our show notes at BruceLee.com/podcast

This week's episode looks at two documentaries about performers in the San Francisco Chinatown nightclub scene in the '30s and '40s: Arthur Dong's 1989 documentary "Forbidden City USA," about the nation’s premiere all-Chinese nightclub Forbidden City, and Christine Choy's "Long Story Short," the story of Larry and Trudy Leung (Jodi Long's parents). Ada and Brian think about how the stereotypes and pressures of Asian performers have changed (or not changed) in the last seven decades -- and they think about how they try to "flip the script" in their own lives.

1. Genny Lim speaks about: "Don't Shoot: A Requiem in Black" an interdispliary new work opening March 8 & 9 at SafHouse in San Francisco. For info: footloose.com Ms. Lim is the current San Francisco Jazz Poet Laureate. She is a noted poet performer who's collaborated with the late Max Roach and bassist, Herbie Lewis. Lim has performed at the SF Jazz Poetry Festival and World Poetry Festivals in Venezuela, Bosnia-Herzegovina and Italy. She is featured in the documentary: The Voice (pbs.org 2002); and was featured in the five-part PBS series, The United States of Poetry, and San Francisco Chinatown. 2. Shola Adisa-Farrar performs at SF Black Cat, Sunday, Mar. 5, two shows.  

Tonight we welcome a new voice to APEX, Sierra Lee who daylights at the Center for Asian American Media. Salima Hamarani talks with Hyun Lee with Working Group on Peace and Demilitarization in Asia and the Pacific and Arnie Saiki with the Moana Nui Action Alliance speaking about the potential impact of the Terminal High Altitude Area Defense System on US-East Asia relations. We talk with artist Sita Kuratomi Bhaumik about her upcoming exhibit Estamos contra el muro: We Are Against the Wall at Southern Exposure where you can pummel a wall of piñatas that represents Trump's proposed border wall with Mexico. And we flashback to 2006 when local punk band La Plebe was embarking on its biggest tour yet–to Eastern Europe. Community Calendar Estamos contra el muro: We Are Against the Wall  Opening Sept 9th | Talk Sept 22nd | Community Demolition Oct 15th La Plebe's final shows are this Friday in Watsonville, Saturday at Gilman, October 14 at Bottom of the Hill, and October 15 at El Rio. On Saturday, at 7 p.m. spend your evening with the indie, action, Filipino vampire film, Vampiriah! It screens at San Francisco Chinatown's Historic Great Star Theater at 7 p.m. And next Thursday, don't miss out! Mass Bass is playing at 12:30 at the Yerba Buena Gardens Festival! You thought they broke up, you thought that frontman Kiwi left the country! Be there on August 8. It may be your last chance to catch this seven-piece radical hip-hop soul collective from Oakland. Next Thursday after 5 p.m. is “Kristina Night” at the Asian Art Museum! Comedian Kristina Wong joins filmmaker Jeff Adachi, performer Khmera Rouge, and other local artists and museum docents to reinterpret famous pieces of performance art from Yoko Ono, Shia Lebeouf and more. You won't want to miss this hilarious, one-night only takeover. The post We Are Against the Wall, Goodbye to La Plebe, and Resistance to THAAD appeared first on KPFA.