Podcasts about San Gabriel Valley

Mexico is at the crossroads of an elite culinary destination and extreme social and economic injustice. The corporate takeover of Mexico's food sector has polarized the nation's diets and food systems. In our latest, we talk with Prof. Enrique Ochoa (@EC8A82) about his latest book, "Mexico Between Feast and Famine," and how food in Mexico encapsulates the contradictions and social inequity happening there. Bio//Enrique C. Ochoa is Professor of History and Latin American Studies at California State University, Los Angeles. A native of Los Angeles, he grew up in the San Gabriel Valley and received his B.A., M.A., and Ph.D. degrees in History from UCLA. He's author of “Feeding Mexico: The Political Uses of Food Since 1910” and most recently “Mexico Between Feast and Famine: Food, Corporate Power, and Inequality." -------------------

A union representing 31,000 Kaiser nurses and health care workers is set to start an open-ended strike tomorrow morning. Demonstrations are taking place across Southern California after federal agents shot and killed a second protester in Minnesota on Saturday. And how a San Gabriel Valley community came together to push back on a controversial project. Plus, more. Support The L.A. Report by donating at LAist.com/join and by visiting https://laist.com Visit www.preppi.com/LAist to receive a FREE Preppi Emergency Kit (with any purchase over $100) and be prepared for the next wildfire, earthquake or emergency!Support the show: https://laist.com

Send us a textIn this episode, I sit down with Dr. Alex Cheah, a plastic surgeon who grew up in the San Gabriel Valley and took a long road through elite training before bringing his work back to Southern California. We talk about his early years in the SGV, how sports shaped his discipline, and why he always felt pulled toward a career that combined precision, results, and service.Alex walks me through the evolution of his medical path, from thinking he would pursue other surgical specialties to discovering plastic surgery and realizing it matched both his technical standards and his creative eye. He breaks down what people misunderstand about plastic surgery, how reconstruction and aesthetics overlap, and why the best outcomes should look natural and intentional.We also get into the patient side of the work, including trust, communication, and what it means to carry the responsibility of someone choosing you for a life changing procedure. Alex shares how he approaches facial aesthetics, rhinoplasty, breast surgery, body contouring, liposuction, fat transfer, and non surgical options like injectables in a way that prioritizes balance over trends.If you are curious about modern plastic surgery, the natural results movement, or what it looks like to build a medical career and still come home to the SGV, this conversation is thoughtful, detailed, and grounded in the real story behind the work.________________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

Send us a textIn this episode, I sit down with Manuel “Mano” Agulian, known to many as Pastor Mano, a Pasadena based pastor who leads the Armenian Christian Outreach at PazNaz and serves in Armenian Ministries. We talk about his story of leaving Beirut, Lebanon and coming to the United States during the civil war, and how that journey shaped his faith, his family, and the way he thinks about purpose. We also get into what long term ministry looks like when you are trying to reach and build up the next generation. Pastor Mano shares how ACOP focuses on Armenian youth and families and the different ways they build community, including sports, music, and even motorsports ministry. We also explore his other world as a mechanical engineer and longtime car builder, and how craftsmanship, discipline, and persistence show up in both the garage and ministry. ______________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

Andy covers breaking news as a bomb squad responds to a suspicious device in the San Gabriel Valley, then shares a deeply touching story about his late father and his battle with pancreatic cancer. The show also brings hope with a promising new drug being tested at Penn, updates on Santa Ana winds, and Andy’s dive into a Facebook group for radio folks. Plus, a moving tribute to the legendary Sam Rubin, highlights from Nikki Glaser’s Golden Globes opening monologue, a cross with George Noory, and a look at Jim Harbaugh’s Chargers managing just three points.See omnystudio.com/listener for privacy information.

Think about the histories of your family or memories from your past. What if you recounted them with a dash of magic? What happens when we infuse our stories on film with some magical realism? Tonight's edition of APEX Express features three filmmakers who created magical realism short films centering AAPI women. Listen to directors Cami Kwan, Dorothy Xiao, and Rachel Leyco discuss their films and experiences behind the scenes with host Isabel Li. Cami Kwan: Website | Instagram | Seed & Spark Dorothy Xiao: Website | Instagram  Rachel Leyco: Website | Instagram   Transcript 00:01 [INTRO] Isabel: You're tuned into Apex Express on KPFA. Tonight's edition is all about stories. Think about the histories of your family or memories from your past. Now, what if you recounted them with a dash of magic? What happens when we infuse our stories on film with some magical realism? I'm your host, Isabel Li, and today we have three very special guests, Cami Kwan, Dorothy Chow, and Rachel Leyco. All of them are AAPI filmmakers who received the Julia S. Gouw Short Film Challenge grant from the Coalition of Asian Pacifics and Entertainment and have created short films featuring AAPI stories with magical realism. My first guest of the night is Cami Kwan, a Chinese-American director specializing in stop-motion animation who directed the short film Paper Daughter.  Hi Cami, welcome to APEX Express!  Cami: Hello, thank you so much for having me. Isabel: How do you identify and what communities do you consider yourself a part of?  Cami: So I identify as a queer Asian American woman um and I am a descendant of immigrants, of Chinese immigrants. um Then the communities that I am part of, part of the queer community, part of the Los Angeles community, part of the Chinese American and Asian American community, part of the mixed race community and part of the stop-motion animation and independent artist community.  Isabel: I'm so excited to talk to you about your upcoming short film, Paper Daughter, a gothic stop-motion animated Chinese-American fairy tale about a young woman grappling with the guilt of using the identity of a deceased girl to immigrate to the US via Angel Island in 1926, which is such a fascinating concept. Can you tell our listeners a little bit about how you came up with this story and the historical specificity behind it?  Cami: Absolutely, yeah. So like I mentioned, I'm the child of immigrants, descendants of immigrants rather. So my great grandparents immigrated to the US from China. My great grandfather came over in 1916 and my great grandma came over in 1926. And so I've always grown up knowing the story of Angel Island and knowing the story about the paper sons and paper daughters who had to find any way into the United States that they could. And so they were forced to, you know, take on the identities of other people. And those stories have always stuck with me, you know, like it's very personal. Angel Island means a lot to me and my family. And just the extreme measures that people have always had to take just for the chance at a better life have always been really meaningful to learn about. just the like, I'll use romances in like the art movement, like romantic. It's very romantic and kind of fairy tale-ish, the idea of having to take on a new identity and pretend to be somebody that you're not. And often those identities would be people who had passed away, and then those families had then sold those identities or given those identities to new people. And so it's so interesting the idea of being like the last person to know somebody so deeply, but you'll never get to meet them and you'll never be able to thank them or repay what they sacrificed for your future. And that's kind of how I feel as a descendant of immigrants. The sacrifice that my family made for me was made so long ago that there's no way for me to ever pay it back. And I didn't really get a say in whether I received that sacrifice or not. And I think a lot of descendants of immigrants kind of have to struggle with this. What does it mean for us to be given this new chance at the cost of somebody who came before us? And so that's all of that kind of rolled up into this 14-minute film. Isabel: You describe your film as being in a gothic style? Can you describe what this looks like and why gothic?  Cami: The subject matter is just so naturally gothic. It's dealing a lot with death and a lot with guilt and those big capital R romantic subjects and stuff. My day job, my day-to-day job is working in stop-motion animation directing mostly like children's series and mostly toy related stuff. And so I spent so much of my time in the happy brighter like birthday party storyline kind of like space. But what really made me want to be a filmmaker in the first place were all these like heavier themes, these bigger themes, films by Guillermo del Toro and like Tim Burton and Henry Selig and Hayao Miyazaki and all of those kind of have this like gothic edge to them. And so that's like a story that I've been a type of story I've been wanting to tell for about a decade now.  Isabel: Stylistically, how does this show up in your film? So I imagine darker colors or do you have a visual like preview for us?  Cami: it is a little bit in the darker color space, but it's still very colorful despite all that. It's moody more so than dark, I would say. um We have a lot of like light and dark themes, a lot of like shadow. stuff and um a lot of magical realism, which is where that fairy tale aspect kind of comes in, because you're dealing with things that are so abstract, like guilt and sacrifice and wearing the identity of somebody else, that there's no literal way to convey that. Well, there are literal ways to convey that, but none of those literal ways I feel fully convey the emotional weight of everything. And so we've gone in this very magical realism space where people are tearing information out of these booklets that contain information about the person they're supposed to be and creating these paper masks out of them. And so yeah, there's this whole like magical aspect that tends to be kind of darker. There's imagery of just like being consumed by the identity that you're just supposed to temporarily wear. And there's a lot of like, yeah, there's a lot of darkness in those themes, I think.  Isabel: Wow, that's so interesting. I'd love to learn more about stop motion. What does stop motion make possible that isn't as easily accomplished through other forms of filmmaking? Cami: Yeah, I think the reason why I'm drawn to stop motion, what I stop motion makes possible is like a universality of just like a human experience because with other kinds of animation and other kinds of filmmaking, like there is kind of like an opacity to like how it's made. There's this this veneer, this magic to it, and there's that magic to stop motion too. But the difference between all of those and stop motion is made out of like everyday materials. It's made out of fabric. using paper. We're using clay. We're using materials that people have encountered in their day-to-day lives. And like, that's the one thing that we are all guaranteed to have in common is that we live in a material world and we encounter these textures and materials around us. so by like taking such a specific story and trying to convey such universal themes, it really like behooves us to be using like um a medium that is as universal as stop motion is. So I think that's like the big thing that stop motion unlocks for us. Plus also story-wise, like it's very paper centered, paper daughter, they're tearing paper strips, they're making paper masks. So like physically using these paper textures adds a lot to our world. um And I think working in stop motion gives you a degree of control that live action doesn't give you because we're creating. all of our characters, all of our sets by hand, which gives us so much of a say over what they look like and what they convey based on how they're constructed and stuff. And that's just a degree of communication that nothing else brings.  Isabel: I love that this is a magical realism film and you mentioned Guillermo del Toro. I know that in your campaign trailer, you featured Pan's Labyrinth, which is my all-time favorite movie.  Cami: Me too! Isabel: Yeah! How exactly did you come up with this specific blend of history and fantasy for your film?  Cami: I think that it's almost a natural human instinct to kind of have history and fantasy. Like, that's all that histories are, just stories told to us. And it's just being less literal about it and really leaning into the metaphors that we might use to convey the emotional realities of those histories, right? And so I feel like Del Toro does that a lot with his work. And Miyazaki as well does a lot of that with his work. So much of it deals with unpacking like World War II and things like that. And that's something that I've always just personally been drawn to. Even as a kid, my dream jobs were archaeologist or animator. And so here I kind of get to like do a little bit of both of those, know, like using the magic of animation to make history feel a lot more present and tangible and like emotionally relevant, which is It's really quite poetic to be able to be telling this story right now because it's going to mark the 100 year anniversary of my great grandmother's immigration to the US. I think we are due for an examination of immigration in our country. And I'm very interested to see how people respond to the questions that this raises of how different is the immigrant experience 100 years later. Have we gotten better? Have we gotten worse? Like I would posit it's perhaps worse now than it was then, but I'm really hoping to like, yeah, bring that reality into a more approachable space. And I feel like having that blend of magic and history just makes it a little bit more approachable than telling it in a literal way, you know? Isabel: Those are some great questions to ask. And on that same note, I'm interested in the specificity of Angel Island as well. What types of research did you do to produce your film?  Cami: Oh, gosh, I read every book I could find about it. have… How many books were those? Oh, my gosh, I want to say, like, not as many as I want there to be, you know? Like, Angel Island is not as well covered in history as places like Ellis Island, and there's a lot. to unpack as to why that may be, especially like the racial aspect of it. But I probably read about a dozen different books to prepare for this film. One of the most concrete and useful books that I read is a book called Island, and it's a collection of the poems that are carved into the walls of the men's barracks that remain on Angel Island. And those poems are a huge part, perhaps, the reason why Angel Island has even been preserved as a historical landmark. And so um the three authors went to great pains to replicate these poems, translate them into English, and provide a lot of historical context for the different topics of the poems. And there's a lot of like first-hand testimony from people who immigrated through Angel Island that they interviewed and included in this book. And so I do think that that book, Island, is like the primary source of most of my research for it. Everything else is more like quantitative history and quantitative data. Oh, also The Chinese in America by, I believe it's Iris Chang, that it's not just about Angel Island, but I read that and that gave me a much better understanding about like the place that Chinese immigrants have in American history. Because when I was a kid, like I really only ever learned about great grandma came over through Angel Island and now we're American and we live in America. But our history, as far as I was ever taught, begins and ends with us entering the United States. And so reading um the Chinese in America gave me a much broader understanding about, like, why did we leave China in the first place? And like, what has it meant for us to be in America as Chinese people since then? Yeah, all that came out of like in 2020 and 2021 when the rise of anti-Asian hate crimes were kind of coming about. I personally had to have a huge reckoning with like my racial identity and like how that has impacted like my experience growing up as a mixed-race person who's pretty perceivably Asian and all that stuff. So it was a really whole circle broad situation. Oh, I want to do a quick shout out to the Angel Island Immigration Station Foundation. They were very generous with their time and they answered a lot of my questions and sent me a lot of archival images from Angel Island. So I want to thank them so much for their help in the research process of this.  Isabel: Oh, wow. How fascinating. Did you have any expectations on how the production process was going to go? And now that you're on the other side of it, what are your reflections?  Cami: I had no expectations as to whether we were going to get outside funding or not. Like I, I'm not an experienced or adept grant applicant. Like, it was really just because this was the right kind of project to fit with those kinds of grants. So I had no expectations there. So I am beyond thrilled to have received the support from Cape and Janet Yang and Julia S. Gouw and Shorescripts that we've received, like beyond thrilled for that. So that exceeded all of my expectations. um But as far as how the actual production has gone, the fabrication and the animation and the post-production, that's all stuff that I'm extremely familiar with. Again, that is my day-to-day life, that is my job, that is like what I have done for the last eight years at my studio, Apartment D.  So that all went pretty much as I hoped and expected that it would, but here on the other side, the one thing that has surprised me about it was how much love all of the artists put in this project because like we've said so much in this conversation, there's so much specificity to this. This is about my great grandma. This is about my family and my feelings about being a descendant of immigrants. It's so specific that I wasn't sure how emotionally it would resonate with anybody else that wasn't me or wasn't part of the AAPI community, you know?  But every single person — doesn't really even matter if they were Asian, doesn't really even matter if they have a specific connection to immigration — every artist that I asked to join me on this project, I immediately understood what it meant and understood what we were trying to say. And they put so much love into it. And like, we all put a lot of love into everything we do. It's stop motion. It's like, you don't do this unless you love it, you know, because you certainly are not doing it for the money or anything. um everyone was just so…I'm gonna say careful, but I don't mean careful like cautious. I mean careful like full of care. And I did not expect that and I am so grateful for it. Yeah, looking back, it's just so precious and so tender and like I'm so fortunate to have had the crew with me that I had to make this film.  Isabel: That's so lovely. What are you most excited about upon completing your film?  Cami: I'm just excited to share it with the world. I'm so proud of it. It is truly, and I'm not just saying this because it's my baby, but it is very beautiful and it is very special. For a lot of us, one of the first times that we've been able to be in charge of our own departments or to make the decisions that we wanna make and tell things, do things, show things the way that we think they should be done. And so it's kind of significant for many of us to have this film come out and to be received. What I want people to take away from it is an appreciation and a gratitude for everything that has had to happen for us to be where we are now. And I also really want people to take away the unconditional love that has occurred for us to be in the country that we have and to be the people that we are. Every single person is where they are. doesn't matter if you're in America or anywhere else, like we are all here because of the sacrifices that were made by the people who came before us. And those were all made out of unconditional love. And that's like, I want people to come away from this film remembering that our country is built on the unconditional love and sacrifice from people who came before us. And then wanting to give that unconditional love and sacrifice to everybody who's gonna come after us. Isabel: Such an amazing message. And I know that there's still lots to do and you still have a lot to celebrate with your upcoming film and with the festival circuit with Paper Daughter. But looking ahead, do you have any plans of what you want to do after the short film?  Cami: Yeah, I would love to bring it into a feature. There was so much that we had to cut out to make this film. On one hand, I'm glad that we cut out what we did because I think the film as it is, is like so tight and so like airtight and good and perfect and sparse in a really nice way, but we don't even get to delve into life before Angel Island. It begins and ends on the island, and I would love to explore the stories that brought this all about and the stories that come after. So bringing this up into a feature version and getting that in front of people would be amazing. And I have a couple other short film and feature film and script ideas that I would like to start working on as well. I've kind of really, I'm really grooving on the like Asian early Chinese American history. um So most of them are going to be set in California and focus on like Chinese immigrants and their role in the founding of America. um I'm really excited for the like, after all the film festivals, I really want this film to end up in classrooms. And I even just the other day like I have a friend who's a third and fourth grade teacher and she showed it to her class and then the students asked me questions about Angel Island and about animation. if this can play any part in helping to spread the story of Angel Island and the people that immigrated through there, like that's all that I could ever want from this. So I'm really excited for that.  Isabel: That's wonderful. I'll put your website, social media and seed and spark page for Paper Daughter up on kpfa.org so our listeners can learn more about this stop motion film and get updates for how they can watch it. I can't wait to see it when it comes out. And Cami, thank you so much for joining me on Apex Express today.  Cami: Of course, thank you so much for having me. It was a great, great time talking with you.  Isabel: You just heard Cami Kwan talk about her film Paper Daughter. On Apex Express tonight, we have two more special guests who made magical realism short films. Next up is Dorothy Xiao, who made the film Only in This World. She's a Los Angeles-based award-winning filmmaker who likes to create grounded family dramas with a hint of fantasy.  Hi, Dorothy. Welcome to APEX Express.  Dorothy: Hi. Thanks for having me!  Isabel: Of course! Thank you for coming here. My first question for you is actually quite broad. How do you identify and what communities are you a part of?  Dorothy: Oh, that is a good question. I think in a broader sense. I would say, obviously, I identify as an Asian American. um But I think, like, for me, because I grew up in the 626 or the San Gabriel Valley, I grew up with a lot of people who looked like me. So I think I didn't truly identify as being Asian or had awareness of my identity until later on when I went to college. And then I took Asian American Studies classes and I was like, oh, wow, I'm Asian. Or like, what does it mean to be Asian? You know, like, I think I, at that time, prior to recognizing and understanding what it meant, and also even to be a minority, because at that, like I said, growing up in 626, even going to UCLA, where I'm surrounded by a lot of Asians, I never really felt like a minority. But I think it was really after graduating where I, depending on the spaces that I would enter into, especially in the film industry, I was learning like, oh, yeah, I am a minority and this is what it feels like. And prior to that, I think I just identified as being a daughter of immigrants. And that still is very strongly the case just because I grew up listening to so many stories that my parents would tell me, like coming from China, growing up like they grew up in China during a completely different time. I can't even imagine what it would be like living in the way that they did, you know, during the Cultural Revolution, under communism, in an intense way where they were starving, all this political stuff. But yeah, a second gen or for a lot of people, first generation, daughter of immigrants, of parents who decided that they wanted to make a better life for their kids out here in the States. I think that I want to stand by me saying that I don't feel like I am, I don't really want to identify as only just single categories all the time, just because within each community, could be, you could have nuances, right? Because I am a woman, but I'm also like a woman who doesn't want children, you know, and there was just so many different things of how I identify. So hard for me to categorize myself like that. But they are, there are tidbits of different communities. Like I still identify, identify as Asian American. I identify as a daughter of immigrants. I identify as a female filmmaker and yeah. And a business owner, I guess. Yeah.  Isabel: Right. Yes. Thank you for that nuanced answer. You know, it's so fascinating because I was reading about your work and you have worked in animal research administration and an afterschool program and even web development for nonprofits. How did you get into writing and directing?  Dorothy: Yeah. So after graduating college, I was definitely in a place where many, I'm sure, fresh grads understand what we call the quarter life crisis, where we don't know what we wanna do with our lives. And I was working at UCLA because that was the only job that I could get out of college for an animal research administration office. And really, I worked for them as a student. So I was like, well, it makes sense to have that be my full-time job, because you're in a place where you don't have skills. So how do you get a job if you don't have skills? That weird silly catch-22 situation. So I studied psychology in undergrad because my goal was to become a therapist. I wanted to work with Asian and Asian immigrant communities to help them with mental health because there's such a stigma attached to it. And being somebody who found mental health really important and also found that it was a really great way to understand myself. I wanted to work with, I guess, the people of my community. But at that time, I realized that there's still a stigma attached to mental health and it's really hard to get people to even go to therapy. Like living with my parents, it's really difficult. I cannot ever convince them to go. um And so I had pivoted into, or at least I discovered this filmmaking competition and ended up just like making a film for fun with a couple of friends, random people that um were not in film at all. And I had a lot of fun and I realized that we could actually create stories talking about things that are very similar to mental health or could provide that catharsis and validation that you could probably get in a session, in a therapy session. And it's not clinical at all. It's not as clinical. So, you know, on all those different jobs that you mentioned, they're all day jobs, know, animal research administration and then working for an after school program. That was me still trying to figure out how to be a filmmaker on my weekends. I still needed a day job. I didn't have the luxury of going to film school. So I would work at different places that gave me the flexibility of having a day job. But then also I had free time during the weekend to just make films with my friends, make friends films with people like my mom, who was one of my first actors earlier on. Love my mom. She did not do the greatest in my film, but I love her for being there for me. But yeah, like the different organizations or just jobs that I worked for were all really good in terms of providing me management skills and also communication skills because I worked in different industries, you know, and so at the end of the day, it all culminated in me at my current place. Like I am a freelance filmmaker and I also run my own video production company. So um becoming a writer, I mean, being a writer director is my main identity as a filmmaker. However, I don't think you could be a good writer-director if you don't have life experience. And having all those different jobs that I've had provided me with a lot of varied life experience and I interacted with a lot of different people, many different personalities.  Isabel: Yeah, no, I love that. So you grew up in Alhambra, which I'm familiar with because I too grew up in the San Gabriel Valley. How would you say that growing up in Alhambra has shaped you as an artist?  Dorothy: Alhambra is really special, I feel like, because in the San Gabriel Valley, there are many cities like this. You have Chinese people who can actually get by without ever having to learn English. And the same goes for Latin communities as well. And, you know, I have aunts and uncles who lived in Alhambra for years and never learned how to speak English. So I think it's like, what's so special about it, it feels like a safe space for a lot of immigrant communities. And then my parents being immigrants from China. living in Alhambra was a place where they could feel safe and feel connected to the people that they left behind in another country. And so being a child of immigrants, a daughter of like an Asian American, like a Chinese American growing up in Alhambra, I definitely felt like I grew up with a lot of people who were similar to me. know, we were like a lot of times the first American born children of our families even, and it was, we had to essentially understand what it meant to be Asian versus American and all of that.  But I think like being in Alhambra, I never felt like I wasn't seen, or at least I never felt like I was a minority. I think I mentioned this earlier, in that growing up in Alhambra, you do see a lot of people who look like you. And I have a lot of friends in the film industry who have moved out to California because they grew up in towns where they were like one, the only person, the only Asian person in their school or whatever. And I didn't have that experience. So for me, it was really special just being able to have a whole group of friends where there's a bunch of Asians. And we all spoke different languages. Like I had a lot of friends who were Cantonese speakers, but I'm a Mandarin speaker, but it was just really cool. It was like going to your friends' places and then you have aunties. So it's almost like having more family. You could feel like you have more aunts and uncles that will feed you all the time because that is the way they show love, right?  Isabel: Oh, certainly. I think there's so many stories in multicultural places like Alhambra. And speaking of which, you did in your film Only in This World. It's about an empty nester who has to face her ex-husband's mistress in order to summon her daughter back from the afterlife, which is featured in the 2025 Silicon Valley Asian Pacific Film Festival in Sunnyvale. Congratulations on such a beautiful film. I will say that I am a huge fan of magical realism, and Only in This World has some magical elements to it. So I'd love to get to know, how did you come up with this specific plot and characters that make up this film? Dorothy: Yeah, and thank you for wanting to talk about this one. It's a special story to me just because it is, I think it's the first film that I've made where I just decided to incorporate elements of where I grew up. And so Only in This World is inspired by my mom and her Tai Chi group at our local park, so Alhambra Park. My mom would go to do Tai Chi every morning for years. And in Alhambra, actually, as I mentioned, because there are so many immigrant communities, many of the immigrant communities tend to stay together with the people who speak their language. So Chinese people usually stick together with the Chinese speakers, Spanish speakers stick together with the Spanish speakers. You don't see a lot of mingling or intersectionality. But one of the special things that I saw with my mom's Tai Chi group was that they were not just Chinese people or Asian people, but there were Latino people in their group as well. And so even though they couldn't speak the same language, they would show up and still do Tai Chi every morning because it was a matter of doing something together. And so I love that a lot. And I wanted to tell a story about just older women who are finding friendship because I think that's really important in older age and in these groups because you see that a lot of the people in these Tai Chi groups are even the ones, not just Tai Chi groups, but there are dancers in the park, you know, like you'll see them in the mornings, not just in Alhambra, but in Monterey Park, all the different parks, open spaces, they'll have little dance groups.  A lot of the people who are part of those groups happen to be seniors, and I think it's just because they don't have work, they don't have children, they're lonely. And so…I think it's really important to be aware that where friendship or loneliness is actually an epidemic in the senior community. And it's really important to providing good quality of life is to just have them have that connection with other people. And seeing that in my mom, because my mom is getting older, having her be part of that community was what kept her happier. And so, yeah, and also my mother-in-law is Colombian. And she's done Tai Chi before as well with her group in Rosemead. And so I just was like, well, I'm part of a multicultural family. I want to tell a multicultural family story. Yeah, in terms of the magical realism element, I thought a lot about just how my family, if our house has ever burned down, the things that they would take out are our photos, the print four by six, like, you know, just the print photos because they're just so precious to them. There's something about hard copy pictures that is so special that digital photos just can't take over. Like there is an actual energy to how a photo is made or even like back then when we used to use film, there's energy that's required to actually create photos. And so, you know, I wanted that to be the power that powers this magical scanner where energy is taken from the picture and then you have the ability to bring someone you love back from the afterlife. And I really love grounded magical realism because I think it just makes difficult things a lot easier to understand when you add a little bit of magic to it, a little bit of fantasy.  Isabel: Yeah, magical realism is such a special genre. What part of the production process that you find the most profound?  Dorothy: I think it was just really my gratitude in how much my family came together for me and also just like the people of this team, know, like there were, I think one major situation that I can think of that I always think is really funny was, um so we filmed at my mother-in-law's house and my husband, Diego, was also working on set with me. He is not in the film industry. He's a software engineer manager. He's like in tech, but he is one of my biggest supporters. And so…when we were like, yeah, can we film at your mom's house? He was like, okay. But he had to end up being the, quote unquote, location manager, right? Because the house was his responsibility. And then, and he was also my PA and he was also DIT. Like he would be the one dumping footage. He did everything. He was amazing. And then ah one day we found out that his neighbor was actually doing construction and they were hammering. It was like drilling stuff and making new windows. They were doing new windows. And we were just like, oh, like, how do we get them to, like, not make noise? And so, and they don't speak English. And so we were like, oh crap, you know. So like, unfortunately, my producers and I don't speak Spanish, like we're all just English speaking. And then I did have Latinos working on my set, but they, you know, they had other jobs. I wasn't going to make them translate and do all that other stuff. So then Diego so kindly went over and talked to them and was like, essentially we set up. They were totally cool about it. They were like, yeah, okay, you're making a film. then whenever you're rolling sound, we'll just like prevent, like not hammer. And then so Diego is sitting outside with a walkie and talking to the first AD and other people inside the house, because we're all filming inside. don't know what's going outside. And then so like, we would be rolling, rolling. And then um the workers, I think his name was Armando, are like…whenever we cut, Diego would hear it through the walkie and he'd be like, Armando, okay, you're good to go. You can drill. Armando would drill. And then when we're going, and we'd be like, I'm going for another take. And then Diego would be like, Armando, please stop. So it was so nice of them to be willing to accommodate to us. Because you hear a lot of horror stories of LA productions where neighbors see you're filming something and they'll purposely turn on the radio to make it really loud and you have to pay them off and whatever. And in this case, it wasn't it was more like, hey, like, you know, we're making a movie and they were so supportive and they're like, yeah, totally. This is so cool. We will definitely pause our work, our actual work and let you roll down during the brief period. So we're really grateful. We definitely brought them donuts the next day to thank them. But that was just something that I was like, oh yeah, like I don't think I could have pulled that off if I didn't have Diego or if the fact, if it wasn't for the fact that these were the neighbors, know, that we were filming at someone's house and the neighbors already had a relationship with the people who lived here.  Isabel: Wow, that's really adaptable. And I'm so glad that went well for you. Dorothy, you've directed 13 films by now. Have you ever seen one of your films resonate with an audience member that you've interacted with in the past?  Dorothy: So there was this one short I had done a couple years ago called Tarot and it came at a time when I was struggling with the idea of whether or not I wanted to have kids and many of my friends are off having their first or second kids, you know, and so I never really wanted to be a mom, but then I have a partner who I can see being a great father, so I'm more open to the idea of being a mother, but it was still something I was conflicted about. And so I put this all into a short film, just my feelings of how my identity would change if I were to become a mom, because I've read so much about that. I found a Reddit thread one day where people were just talking about how being a mother is hard. And they openly stated how much they hated it. And it's okay to feel that way. And I wanted to put those feelings into this film to just put it out there like, hey, like if you don't like being a mom, even though you love your kid, you could still hate having that identity and be lost about, and it's okay to be lost or not sure about who you are. And so it was a really short film and it ended kind of open ended. It was like five minute film, so it didn't have like a full ending, but it was an open ended ending. And then afterwards I had a bunch of people come up. I had people who were parents, not just mothers, like even, or like fathers who had just had their first kid who were coming up and telling me like, oh, I totally identify. I understand that struggle of learning about who your new identity is after you've had a kid. And then I had people who were child free who were coming to me and saying like, yeah, this is a similar feeling that I've had about whether or not I should have any kids. Because, you know, as women, we have a biological clock that ticks. And that's something I feel frustrated about sometimes where it's really because of my body that I feel pressured to have a kid versus wanting to have one because I want one. And so that was a story I wanted to, or just something I wanted to put into a film. Yeah, and I also had another person come up and tell me that they were like, this was something I felt, but I never really openly talked about. And so I resonated a lot with this and it just helped basically articulate or helped me identify like, oh, I totally feel this way. And so that was really validating to me as a filmmaker because my goal is to reach others who don't feel comfortable talking about certain things that they tend to hide because I have a lot of those types of thoughts that I might feel ashamed or embarrassed to share. But then I put it into a story and then it makes it more digestible and it's like, or it's more, it's entertaining. But then like the core message is still there. And so people watch it and if they feel that they can connect to it, then I've done my job because I have resonated with somebody and I've made them feel seen. And that's ultimately what I wanted to do when I wanted to be a therapist was I just wanted to make people feel seen. I wanted to make them feel connected to other people and less lonely because that's something that I also have struggled with. Yeah, so filmmaking is my way of putting something small out there that I feel and then finding other people who feel the same way as me. And then we can feel validated together. Isabel: Ah yes, that is the power of film, and Dorothy's work can be viewed on her website, which I'll be linking on kpfa.org, as well as her social media, so you can get new updates on what she is working on. Dorothy, thank you so much for joining me on APEX Express today!  Dorothy: Thank you! Thank you for having me, it was so great to meet you!  Isabel: That was Dorothy Xiao, our second guest for tonight's edition of Apex Express, featuring magical realism AAPI filmmakers. Now time for our final guest of the night, Rachel Leyco, who is a queer, award-winning Filipina-American filmmaker, writer, actress, and activist. We'll be talking about her upcoming short film, Milk & Honey.  Hi Rachel, it's such an honor to have you here on APEX Express. Rachel: Hi, thank you so much for having me.  Isabel: How do you identify and what communities do you consider yourself a part of?  Rachel: Yeah, I identify as a queer Filipina-American. Isabel: So we're here to talk about your short film, Milk & Honey, which is about an ambitious Filipina nurse who leaves her family behind in the Philippines to chase the American dream in the 1990s and facing conflicts and hardships along the way. How did you come up with this specific 90s immigration story?  Rachel: Yeah. So Milk and Honey is inspired by my mom's immigrant story. you know, that's really her true story of coming to America in the early 1990s as a very young Filipina nurse while, and also a young mother and leaving behind her daughter, which was me at the time. um you know, following her journey in the film though fictionalized, a lot of the moments are true and there's a lot of exploration of assimilation, cultural barriers, loneliness and the emotional cost of pursuing the American dream.  Isabel: Yeah, when I read that synopsis, I immediately thought of this short film could totally be something that's feature length. How did you sort of this story to something that is like under 15 minutes long?  Rachel: Yeah, so I wrote the short film script first. And actually, you know, this is a proof of concept short film for the feature film. I actually wrote the feature film script after I wrote the short because there was just so much more I wanted to explore with the characters and the story. It definitely couldn't fit into a short film, though I have that short film version. But there was just so much richness to my mom's story that I wanted to explore, so I expanded into a feature. So I do have that feature film version, which I hope to make one day. Isabel: And you mentioned that this film is inspired by your mom's story. Is there any other sort of research that you did into this story that really helped you write? Rachel: Yeah, one of the main reasons I wanted to write the story, I mean, there's many reasons, but one is because there, if you ask the average American or the general public, they won't really know why there are so many Filipino nurses in the healthcare system. Because if you walk into any hospital, you'll see a Filipino nurse, more than one for sure. ah so I was really curious about the history. ah Having my mom as a nurse, my sister's also a nurse, I have a lot of healthcare workers around me. I grew up with that. I, you know, growing up, I also didn't really know or learn Filipino American history because it's not taught in schools. And I, you know, I took AP US history and didn't learn anything about, you know, my culture and our history. It's, not in the books at all. And it wasn't until like my early twenties that I was really curious about my roots and my upbringing and what it means to be Filipino-American specifically. And so um I really went into like a deep dive of just researching Filipino-American history. And specifically last year, I had been wanting to tell a story about a Filipino nurse because of my proximity to it with my mother. And you know, myself being an artist, being a filmmaker in the industry, there's so many medical shows out there, like, know, Grey's Anatomy, that's been long running, but very, very few, and rarely do we see Filipino nurses at the forefront and at the center of those stories. um You know, rarely are they series regulars. You know, sometimes they'll feature a Filipino nurse for like one episode or two and, you know, a recurring or a side character, but Filipino nurses are never the main character, never the series regular. And so that was another big driving force for why I wanted to make this story. And, you know, really making my mom's character the center of it. And so as far as like research, too, I definitely interviewed my mom and I asked her to just tell me her her entire story and specifically why she even wanted to move to the United States because she could have stayed in the Philippines or she could have moved somewhere else. um she saw a newspaper or her friend actually at the time when she was in a nursing school, a friend of hers saw an ad in the newspaper that America was sponsoring nurses. And so she had it in her mind already like, oh, yeah, I've heard of America. I've heard of the United States that it's, you know, there's better opportunities for me there. And at the time she had just had me. And so she had, you she's a young mother. She's trying to take care of her baby, her newborn. And so, you know, she had her eyes set on moving to the United States and that's kind of how her journey happened. And on top of that, I also did my own research on you know, our history, I watched this really amazing documentary um by Vox. It's on YouTube. It's all about why there are so many Filipino nurses in America. And it really just ties back to U.S. colonization. And after World War II, was so many, there was big nursing shortage in the United States. you know, white Americans did not want to, you know, fill that role. So they turn to Filipino women to fill the gap.  Isabel: Yeah, was there something special about the production process that looking back, you would want to replicate in the future or that really speaks to you?  Rachel: Absolutely. um Yeah, mean, definitely this experience and a lot of the people that I brought on to this project, I want to continue to make films with them and continue to make art with them because um I'm just so proud of the team that we put together. Everyone was so passionate and they knew how important the story was. They also had their own special connection to the material that they brought so much heart and passion into the film. that really comes through in the project. so like a lot of the people I brought onto this film, I want to continue to make art with them forever. That's one thing that I'm really, really grateful for, because I got to work with some really awesome people that I had never worked before or I had been wanting to work with. And so it was such a great opportunity that was given to me to be able to connect with such amazing and talented AAPI creatives in my circle.  Isabel: Yeah, I saw on your Instagram page for the film that you shot this film in both Los Angeles and Austin, Texas. Have you ever done a production where you had to sort juggle two different sets in two very different locations? And how was that entire process?  Rachel: Yeah, that was really, it was really fun. It was my first time being able to film in two different cities, let alone like two different states, really. A lot of my past projects have just been, you know, shooting it with the resources that I had that were available to me. You know, usually like my past short film, Thank You for Breaking My Heart, that I did last year, we shot all of it in one location, which was of course like, know, that is something that's really impressive in and of itself, of course. But, you know, because of the bigger budget that we had for Milk and Honey, I really wanted to challenge myself with this. And I really advocated for filming a part of the film in Texas because it is set in Texas. I was raised there. That's where my mom was placed when she, because how the process goes is, you know, she applied for the nursing sponsorship and then they placed them in certain areas. And so she was placed in El Paso, Texas at the time. And so that's where I also grew up. So I set the film there and I really advocated for filming in Texas because I wanted the film to have that feeling of the environment and atmosphere of Texas. um And so we shot some exteriors there for like this really fun Texas montage where you can really like feel that the character is there in, you know, in that heat, the Texas heat. So that was really, that was really fun. And I, you know, we shot, we shot two days in LA and we shot half a day in Austin, Texas. And we hired a second unit in Texas, because, you know, again, like, even though we had a really good budget, was still, you know, it was still pretty small. So I wasn't able to, you know, fly my LA crew over there. um So what we did was we just hired a second unit crew in Austin, Texas, and they were amazing. And most of them were queer, non-binary filmmakers. And it was just such a fun, intimate crew that you know, we just breezed by and had such a great time shooting that.  Isabel: That's wonderful. As a director, what inspires you and what are some of your filmmaking influences?  Rachel: Yeah, I mean, I'm constantly inspired by, you know, new films, filmmakers that I've seen, em particularly for Milk and Honey. I um so the film is, you know, this grounded drama, but there are a lot of moments of magical realism that I mix into it. love magical realism. love one of my favorite movies is Eternal Sunshine of the Spotless Mind. It's such a beautiful film, also very grounded, but it's filled with all of this, you know, magical realism, surrealism. And so I infused that into, you know, Milk and Honey, which was really fun and a challenge to execute. But yeah, and some other filmmakers and creatives that I'm inspired by are Ava Duvernay. think her work is just incredible and also just an incredible artist overall. I love the kind of work that she does because it comes from such a deep place. And I love that she can combine art with politics and social justice as well. Isabel: I also love that you said in your one of your project funding descriptions that you use your art as your act of revolution, which is so relevant given that, you know, in our current state of, you know, our administration is silencing and suppressing voices of our immigrant communities. And how do we as filmmakers, as artists, what does that revolution and representation mean to you as a filmmaker and artist?  Rachel: I truly believe that that art is our act of revolution and just merely creating the art is that act in and of itself. We don't have to do more than that as from, in my opinion, as an artist, because the mere fact of us existing as artists, existing, myself existing and creating the work and having the work exists out there and putting it out. The most powerful thing that an artist can do is to make their art and share it with the world. And after that, just let it go, you know, forget about how it's going to be received. Forget about like, you know, the critics and, and, and the, you know, self doubt you may have and all of those things, because yeah, it's going to come. I think especially in the landscape of, like you said, of where we're at right now with our current administration and you know, just who knows what's going to happen in the next few years, but also in the face of like AI and technology and all of that, I think all we can really do as artists is to, in order for us to change the system is we have to be the change, right? And in order for us to be that change is just to continue to tell our stories and stay authentic to ourselves. Because I think that's also what a lot of people out there are really craving right now. People are craving authentic, real stories by people that we really don't get to see or hear their stories very often. And so um that for me is something that fuels me and my artistry every day.  Isabel: Very well said and a great reminder to all of us artists out there to keep making our art. What do you hope for audiences to take away when they watch your film?  Rachel: What I hope for audiences to get out of watching the film, well, one, at the core of it is a mother-daughter story. And I also did it to honor my mother and her sacrifices and her story. So I hope that, one, audiences will, you know, maybe reflect on their relationship with their mother and… um think of ways to honor their mother and their family and their ancestry as well. And another thing is to really think about what the American dream means to you, because that was another driving force for me with the film is it's called Milk & Honey because a lot of immigrants coined Milk & Honey as America's milk and honey as this like land of abundance, land of opportunity and you know, this is a, this is a place for creating a better life for ourselves. But I, for me, as I've grown up and as an adult now, really looking at like, well, what does the American dream mean to me? Is that still true to me? Do I still think the U S is a place where I can, where I can build a better life? Is it a place of abundance and something in the film, a big theme in the film is where Cherry's character scrutinizes that dream and thinks for herself, like, is the American dream worth it? And what does the American dream actually mean to me? What is the definition of that? So I think that's a big thing I would love audiences to also take away from it, you know, asking themselves that question. Isabel: That's a great thought to end on. I'll be including Rachel's social media and website on kpfa.org as usual so you can see if Milk and Honey will be screening in a film festival near your city during its festival run. Well, Rachel, thank you so much for joining me on APEX Express today. Thanks so much for having me. I really enjoyed it. Please check our website kpfa.org to find out more about magical realism in AAPI stories and the guests we spoke to. We thank all of you listeners out there. Keep resisting. Keep organizing. Keep creating and sharing your visions with the world. Your voices are important. APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, Cheryl Truong, and Isabel Li. Tonight's show was produced by me, Isabel Li. Thanks to the team at KPFA for their support. Have a great night. The post APEX Express – 1.08.26 – Magical Realism and AAPI Short Films appeared first on KPFA.

Send us a textIn this episode, I sit down with Edward Maldonado, better known as Coach Buck, the owner of Marathon Batting Cages in South El Monte. We talk about his coaching journey and what it means to build athletes the right way, with patience, consistency, and real belief in the kid standing in front of you.Coach Buck shares what he looks for when a player walks into the cage for the first time, how he simplifies the game for young athletes, and why confidence often shows up before the stats do. We get into the difference between quick tips and long term development, plus how coaches and parents can stay aligned when a player hits a rough stretch.We get into some of the difficulties that he's experienced growing up and building the business he has today. We also talk about training culture, what productive reps actually look like, and how to create an environment where baseball and softball players want to keep showing up and putting in work. If you care about youth sports, mentorship, and community based coaching, this conversation delivers practical takeaways without the fluff.If you are in the San Gabriel Valley and you have a player who wants to improve their swing, sharpen their approach, and train with purpose, Coach Buck breaks down the mindset that helps athletes level up and stay in love with the game.____________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

Send us a textIn this episode, I sit down with Lupita Ramirez and Dennis Ramirez, the husband and wife team behind Think, Create & Connect, Inc., a family owned creative marketing agency that helps businesses strengthen their online presence through brand strategy, social media management, and creative campaigns.We talk about what it takes to elevate a brand when you are busy running the day to day of your business. Dennis shares how he thinks about brand identity, marketing strategy, and consistent messaging so businesses can show up clearly and build trust over time.Lupita breaks down the connection side of marketing and why community relationships still matter, especially for local entrepreneurs. We also get into the community work she's involved in, including supporting local business networks and hosting events that help organizations build awareness.If you run a small business and you want practical insight on marketing, branding, and relationship building that leads to real growth, this conversation will give you a clear next step and a better way to think about your business online.__________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

Send us a textIn this episode, I sit down with Shaunt Der Ohannesian, the son of Shahan Der Ohannesian and part of the family behind Lee's Hoagie House in Pasadena. Lee's has become a true neighborhood staple, and Shaunt now helps run day to day operations while carrying forward what makes the place feel like home. Shaunt opens up about his journey through addiction, and how the loss of his best friend became the turning point that helped save his life. He gets vulnerable about the darkest stretch of that season and what it took to climb out, rebuild trust, and start showing up for his future with real intention.We also talk about family, legacy, and what it means to return to the business with a new mindset. If you've ever eaten at Lee's, you know the magic: the way the team remembers people, the warmth in the room, and the feeling that you're not just another order. Shaunt shares what it's like to keep that standard alive while growing into his own role alongside his dad. This is one of those conversations that sticks with you. You've got to tune into this episode.__________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

In the SGV Connect's end-of-year podcast, Damien Newton and Felicia Friesema of Foothill Transit discuss transit updates in response to questions submitted by readers. The discussion addresses: The delayed implementation of Line 289/197 combination/extension due to ongoing student needs at Ganesha High School. Foothill Transit's hydrogen bus program is paused due to funding cuts, with a focus on low-emission CNG buses. The 295 college connector line...and more! A lovingly edited transcript of the podcast can be found below. SGV Connect is supported by Foothill Transit, offering car-free travel throughout the San Gabriel Valley with connections to the new A Line Stations across the Foothills and Commuter Express lines traveling into the heart of downtown L.A. To plan your trip, visit Foothill Transit. "Foothill Transit. Going Good Places."Sign-up for our SGV Connect Newsletter, coming to your inbox on Fridays!   SGV Connect Podcast: End-of-Year AMA with Foothill Transit Recorded December 15, 2025 Host: Damien Newton Guest: Felicia Friesema, Foothill Transit Damien Newton: Welcome to SGV Connect. This is our end-of-the-year podcast with Felicia Friesema of Foothill Transit. I think this is the third year we've done this, but only the second year in a row. According to Chris, that means I can now call it an annual tradition. As always, we asked readers for questions, they sent them in, and we're posing them to Felicia. As a disclaimer, none of the questions were especially controversial. Since we wanted this to be informational, we did provide the questions to Felicia on Friday so she could review them and give us the best possible answers. Also, I'll say upfront, we don't have any really fun questions this time, so we may try to come up with something fun toward the end, depending on how long we spend on the wonky stuff. Before we dive in, a reminder that SGV Connect is sponsored by Foothill Transit, offering car-free transit throughout the San Gabriel Valley, with connections to A Line stations along the Foothill Extension and service into Downtown Los Angeles. To plan your trip, visit foothilltransit.org. Foothill Transit — going good places. That ad copy has been the same since before this podcast was even called SGV Connect. If you ever want to change it, let me know. Felicia Friesema: I'm just ecstatic that this has become an annual thing. I really love these AMAs. They're fantastic. Damien Newton: They're fun and easy on my end, so I'm a big fan too. It looks like we have five questions this year. The first two came with mini-essays attached — written in the first person, but not by me. The first question is about the implementation of the Foothill Forward Line 197 and a proposed combination with Line 289. The reader writes: "I'm excited for the proposed Line 289/197 extension from La Verne to Cal Poly Pomona. It would allow for a weekend connection from the A Line to Cal Poly Pomona — the 295 is weekday only. When will it be implemented? Other Foothill Forward improvements have moved forward, but this one has been pending for years." Felicia Friesema: The proposed combination of Lines 289 and 197 would be a great idea. However, that routing would remove a segment of the current Line 197 that serves Ganesha High School, and we're not quite ready to do that yet. We've been working with Pomona Unified School District and monitoring ridership trends at Ganesha to understand ongoing student needs. Right now, our focus is on continuing to provide that service. The connection from Line 197 to the A Line remains in our plans. We're working with the City of La Verne, the Gold Line Authority, and LA Metro to make enhancements at the station so buses can serve it effectively. As for timing, it's still up in the air. There are no firm plans for 2026. We need to do more due diligence on student demand before moving forward. Damien Newton: I'll just note that the quality of the questions was excellent. The writer even included links — presumably for me — but honestly, they were more useful for you. I've saved their info in case Chris Greenspan ever moves on. Felicia Friesema: Bus riders and bus fans often know the system better than we do, and that's fantastic. Damien Newton: The next question builds off that theme and focuses on Foothill Transit's hydrogen bus program. The reader asks about the future of hydrogen fuel, especially given recent shifts toward battery-electric fleets statewide. Felicia Friesema: That's a great question, and it's one we get a lot. Foothill Transit has been an early adopter of hydrogen fuel-cell buses, and we've learned a tremendous amount from that experience. Hydrogen has worked well for us operationally, especially for longer routes where range and refueling time really matter. That said, the landscape is changing. Battery-electric technology continues to improve, and funding priorities at the state and federal level are evolving. We're keeping a close eye on that and making decisions based on reliability, cost, and what best serves our riders. We're also part of a larger hydrogen hub conversation in California, so this isn't something we're abandoning lightly. But like everything else, it has to pencil out long term. Damien Newton: That makes sense. And I think people sometimes forget that Foothill Transit has always been willing to pilot new technology, even when it's risky. The next question is about ridership, specifically college routes. A reader asks whether Foothill has seen changes in demand now that many campuses are fully back in person, but with hybrid schedules still common. Felicia Friesema: We're definitely seeing a rebound, but it's uneven. Some college routes are close to pre-pandemic levels, while others are still lagging. Hybrid schedules have changed travel patterns, and students aren't necessarily commuting five days a week anymore. We're responding by being more flexible — adjusting schedules, monitoring demand closely, and working directly with campuses. Programs like student transit passes remain a huge part of our strategy, and they've been very successful where implemented. Damien Newton: That leads nicely into the next question, which is about major events — specifically the 2028 Olympics. Someone asks whether Foothill Transit expects to play a role, especially given the geographic spread of venues. Felicia Friesema: We've had preliminary conversations, but it's still early. Large events like the Olympics require coordination at every level — Metro, municipal operators, law enforcement, and local governments. For Foothill Transit, the challenge is balancing special-event service with our core mission: serving daily riders who rely on us to get to work, school, and appointments. We don't want to overextend ourselves in a way that hurts regular service. Damien Newton: That's a good segue to the Rose Bowl, which always generates questions whenever there's a big event. Someone asks whether Foothill plans to expand service there. Felicia Friesema: The Rose Bowl is always tricky. It's not just about buses — it's about traffic control, street closures, and coordination with Pasadena and other agencies. We do provide service for certain events, but expanding that requires partners at the table and funding to match. Damien Newton: Before we wrap up, I want to ask a lighter question — something we've done in past years. Do you have a book or podcast recommendation for listeners? Felicia Friesema: I was hoping you'd ask that. I've been reading a lot more nonfiction lately, especially books about leadership and organizational change. One I'd recommend is Turn the Ship Around! It's about empowering teams and decision-making, and I think it applies really well to public agencies. Damien Newton: That's a great recommendation. I'll add it to my list. Before we close, is there anything coming up in 2026 that riders should be paying attention to? Felicia Friesema: We'll continue rolling out Foothill Forward improvements where funding allows, and we're staying focused on service reliability. Electrification will remain a big theme for us, whether that's hydrogen, battery-electric, or a mix of both. We're also continuing conversations with cities and Metro about bus-priority projects. Those don't always get a lot of attention, but they make a huge difference for riders. Damien Newton: I want to thank everyone who submitted questions. They were thoughtful and detailed, which makes these AMAs much easier to do. Felicia, thanks again for joining us and for being willing to do this year after year. Felicia Friesema: Thank you for having me. I really appreciate the opportunity to talk directly to riders and advocates. These conversations matter. Damien Newton: And thanks to Foothill Transit for sponsoring SGV Connect and making this podcast possible. As always, you can find more San Gabriel Valley transportation coverage at Streetsblog Los Angeles. We'll be back in the new year with more episodes. Felicia Friesema: Looking forward to it. Damien Newton: All right. Thanks, Felicia. Talk to you again soon. Felicia Friesema: Thanks, Damien. Bye. End of recording.  

Send us a textHere's the story of a producer, creative, father, and entrepreneur who blends music, storytelling, and authentic Hawaiian food. Born and raised in Pepe‘ekeo, Hawai‘i and rooted in values of aloha and community, he moved to the San Gabriel Valley in 2008 to pursue audio engineering. An internship with Doggystyle Records opened doors to collaborations with Snoop Dogg, Kendrick Lamar, and Jay Rock. By 2015 he began releasing instrumental music, earning over 2 million streams and a loyal following in the lofi and chillhop space.In 2022 he joined the Lone Lobos Podcast as producer and on-air contributor alongside Cobra Kai's Xolo Maridueña and Jacob Bertrand. The show has since amassed millions of streams and partnered with brands like Netflix, Sony, and San Diego Comic-Con. We dig into the craft behind consistent content: building audience, managing partnerships, and keeping creative energy high across music and podcasting.His love for food traces back to Hawai‘i and a family heritage that's Hawaiian, Puerto Rican, and Japanese. Inspired by his grandmother's pasteles and his parents' home cooking, he worked with East Los Musubi in El Sereno starting in 2015 and launched Unreal Poke in December 2023—a Native Hawaiian-owned pop-up rooted in food activism and cultural authenticity. In its first year, Unreal Poke served at 80+ events including Smorgasburg LA, 626 Night Market, and 88Rising's Head in the Clouds Festival.Fatherhood sits at the center of it all. Since 2011 he's focused on raising his son with traditions passed down through food and story. This episode covers the journey from studio sessions to street food, how to build a values-driven pop-up, and what cultural integrity looks like in both music and cuisine. Keywords: Hawaiian food, Native Hawaiian-owned, poke pop-up, lofi, chillhop, Doggystyle Records, Snoop Dogg, Kendrick Lamar, Jay Rock, Lone Lobos Podcast, Smorgasburg LA, 626 Night Market, Head in the Clouds, East Los Musubi, San Gabriel Valley.__________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

The Cinematography Podcast Episode 337: Eric Lin and Lyle Vincent Rosemead tells the tragic, true story of Irene (Lucy Liu), a terminally ill single mother, and her son, Joe (Lawrence Shou). As Joe battles schizophrenia and urges toward violence, Irene is left isolated from her Chinese American community in Southern California, facing impossible choices without a safety net. After decades behind the camera, director Eric Lin connected deeply with the personal nature of Rosemead. He grew up in Southern California and frequently visited the San Gabriel Valley, where the film takes place. Producer Mynette Louie, who he'd know since NYU Film School, sent him the script, and Eric decided to take it on as his first directorial feature. “I've shot a lot of features and I've been side by side with directors, watching how difficult it is to make a feature,” he says. “The thing that sort of lured me into the director's chair was that it's a story that I felt like I'd never seen before on screen.” Recognizing the film's nuanced demands, Eric knew he didn't want to pull double duty as cinematographer. Instead, he asked Lyle Vincent, another NYU alum with whom he shared a cinematic shorthand. “Knowing what a DP does, especially on a film like this, where I felt like I had to be so present, that would be a fatal mistake,” Eric explains. Lyle appreciated the trust, describing Eric as a director who “is extremely visual and who has amazing visual references and language.” Together the two shotlisted and discussed each scene emotionally and visually. To capture the film's emotional landscape, Lyle chose a subjective camera style. Handheld camerawork and portrait lenses help mirror Joe's psychological state and the looming sense of danger. Using E-series anamorphic lenses, he created a shallow depth of field that softened the background, forcing the viewer's focus onto the characters. This gritty reality contrasts sharply with Joe's memories of the idyllic time he spent with his parents in a hotel. His flashbacks are rendered in warm tones, evoking a surreal, dreamlike nostalgia. See Rosemead in theaters. Find Eric Lin: Instagram @holdtheframe Find Lyle Vincent: Instagram @lylevincent SHOW RUNDOWN: 01:38 Close Focus 13:20-01:03:54 Interview 01:04:13 Short ends 01:13:09 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

Send us a textHere's the story of a first-generation Chinese American filmmaker whose roots in Alhambra and the San Gabriel Valley shape every frame she makes. With a psychology degree from UCLA and a name honoring her parents' immigration lawyer, she crafts grounded family dramas with a hint of fantasy—stories of resilience, friendship, and hope drawn from the immigrant communities she grew up around.She's directed 13 short films and contributed to more than 30 film and video projects with companies like CBS, HBO, and Disney. Along the way she earned recognition in industry pipelines and competitions, including the CBS Leadership Pipeline Challenge and the 2023 CAPE Julia S. Gouw Short Film Challenge (presented by the Coalition of Asian Pacifics in Entertainment and Janet Yang Productions).In this episode, we dig into process and pathway: moving from idea to script to screen, casting authentically, building a crew, and translating lived experience into universal cinema. We talk festivals and funding, pitching and partnerships, and how a filmmaker balances creative voice with the practical realities of producing in Los Angeles and the SGV.If you care about Asian American stories, indie filmmaking, or turning personal history into powerful narrative, this conversation is for you. Keywords: Chinese American filmmaker, San Gabriel Valley, Alhambra, UCLA, independent film, short films, women in film, Asian American stories, CAPE, CBS Leadership Pipeline, representation, immigrant family drama, Los Angeles filmmaking.__________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

Send us a textHere's a conversation with a restaurant growth operator who's spent 20+ years at the intersection of dining, loyalty, and partnerships. From helping launch LivingSocial's first outside sales footprint to expanding Square's Caviar gourmet delivery in Downtown LA, he's now at Rewards Network, where he runs dining programs for major brands across airlines, hotels, and wireless. The focus: predictable traffic, measurable spend, and cash flow that helps restaurants grow.We break down how these dining programs actually work—enrollment, card-linked offers, and the data that proves incremental visits—plus the funding model where Rewards Network pre-purchases members' meals up front to inject capital into restaurants. Expect practical tactics on filling seats, lifting average check, and turning occasional diners into regulars through A/B-tested offers and localized campaigns.His path runs from Phoenix to Pasadena to North Hollywood, with stints in Carlsbad, Del Mar, and Leucadia along the way. A Northern Arizona University grad with post-grad business coursework at Pasadena City College, he moved to Pasadena in 2002 to work at Charter Media and spent eight years there. He's a Burbank Chamber member, a longtime restaurant partner to owners across LA, and a dad to a Pasadena-born son—plus an outdoors guy who camps on his own three acres near Flagstaff.If you're a restaurant owner or marketer, this episode is a playbook: how to evaluate dining rewards, negotiate terms, track true lift vs. cannibalization, and stack channels (delivery, loyalty, email, social) for sustainable growth. Keywords: restaurant marketing, dining rewards, card-linked offers, customer acquisition, loyalty ROI, restaurant funding, Caviar, LivingSocial, Rewards Network, Pasadena, San Gabriel Valley.__________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

Send us a textHere's the story of a San Gabriel Valley nonprofit turning loss into action. Based in Covina, the Man-e Moreno Foundation was created after the death of Manuel Joseph Moreno, transforming a family tragedy into a mission to serve youth and support families affected by violence. The focus is whole-person impact—meeting physical, mental, and academic needs while strengthening community ties.At the center of its work is the 212 Training Center, a program designed to develop student-athletes through fitness, mentorship, and academic support. From speed and agility to study habits and character, the model pairs training with guidance so kids can win on the field, in the classroom, and at home.The foundation also speaks to healing and prevention. Its programs extend support to families of victims of violent crime, while leadership engages local youth and partners across the SGV. It's community work rooted in real experience—and a belief that consistent mentorship, structure, and purpose can change lives.In this episode, we dig into how a neighborhood foundation builds programs that last: fundraising, partnerships, facilities, and the day-to-day playbook that keeps kids showing up. Keywords: Man-e Moreno Foundation, 212 Training Center, Covina, San Gabriel Valley, youth mentorship, student-athlete training, victims of violent crime support, nonprofit leadership, community programs.__________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

Send us a textHere's a conversation with a broadcast veteran who's spent nearly 30 years in large-market media—hosting radio, interviewing icons like Eminem, Mike Tyson, Jim Brown, and Kendrick Lamar, and now operating on the executive side with a global music brand. He helped pioneer the shift from traditional radio to YouTube, building on-air personalities into on-screen creators and translating audience habits into sustainable digital growth.We dig into the strategy behind platform transitions: how to repurpose radio segments for video, design thumbnails and titles that convert, and build a content pipeline that keeps creators consistent without burning out. Expect real talk on partnerships, rights, monetization, and measuring what matters across broadcast, YouTube, and socials.His community work runs just as deep. Through Monrovia's public access network KGEM-TV, he developed civic programming—City Council and School Board recaps, How to Run for Office, Digital Dialogues—and produced events like House Party at the Park to bring neighbors together. He's launching commUNITY reIMAGINED and hopes to expand DREAM CHASERS career day in the SGV, connecting students with creative-industry pros.Recognition followed: a national honor from the Alliance for Community Media (Jewell Ryan White award for cultural diversity) and a role as city delegate in bringing the All-America City award home to Monrovia. If you care about radio-to-digital evolution, music business strategy, community media, and youth mentorship, this episode is a playbook. Keywords: radio to YouTube, music industry, content strategy, community media, KGEM-TV, civic engagement, creator economy, live events, career day, San Gabriel Valley.__________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

Send us a textHere's the story of a San Gabriel Valley daughter who turned community roots into a career of service. Raised in Monterey Park and Montebello, she grew up at Robert Hill Lane, Macy Intermediate, and Schurr High—so the SGV isn't just a place, it's her identity. After a brief move to Chino Hills, she came home so her three kids could grow up in the same tight-knit neighborhoods, splitting time between Brightwood Elementary, Schurr, and Mark Keppel.Community leadership shows up everywhere in her life. Her family was immersed in the Japanese American basketball scene, and she served as president of the Jetts/Jets program through Plymouth Church in Montebello—helping it grow from eight teams to more than twenty in just two years. That same “show up and build” mentality comes from her parents' entrepreneurial hustle: a well-known local carpet-cleaning business on one side and a scrappy jewelry side hustle on the other.Professionally, she helped launch a dental lab in Monterey Park and then pivoted to real estate in 2014. Her specialty is guiding families through emotionally complex transactions—selling inherited homes and buying first homes—with a step-by-step approach that keeps clients informed, protected, and confident. Think neighborhood expertise, clear communication, and fierce advocacy from offer to close.This episode traces how SGV roots, youth sports leadership, and small-business grit shaped a real estate career centered on trust and community. We talk first-time buyer roadmaps, inherited-property checklists, negotiation style, and what makes SGV neighborhoods special. Keywords: San Gabriel Valley, Monterey Park, Montebello, Mark Keppel, Schurr High, Japanese American basketball, youth sports, first-time homebuyer, inherited property, real estate agent, SGV real estate, East LA, community leadership.__________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

A San Gabriel Valley alt punk band shares how a campus flyer became a touring lineup, why LA competition forces smarter booking, and how grit beats hype when crowds are thin. We rotate through Casey, Angel, Aiden, and Kiwi to hear origins, influences, and road stories.• forming the band through community college flyers and local ties• defining a sound across alternative punk, groove, and hardcore• booking DIY tours with promoters and research• playing empty rooms before backyard shows pack out• navigating LA's crowded calendar and big-act competition• growth mindset versus viral myths and overnight success• handling sickness on tour and performance anxiety• favorite stops in SF, Reno, Phoenix, and California hubs• instruments, influences, and why drums challenge beginners• homesickness, van life, and keeping morale high• future goals for Seattle, Chicago, New York, and Canada• practical advice on consistency, showing up, and persistenceYou can find them on Instagram, TikTok, Tumblr, and Facebook @vonsislandMusic is on Spotify, Apple Music, Bandcamp, Deezer, and Tidal.Follow us @ brokeboyz_ff on Instagram and TikTokIntro Music by Rockstar Turtle- Broke Boyz (999)Christmas Intro Song by Nicolinktr.ee/brokeboyz_ff

Send us a textHere's the story of an SGV native building community through coffee. Raised in Covina and West Covina and now rooted in Pasadena, Melissa Spolar blends events, marketing, nonprofit work, and café culture to connect neighbors and small businesses. She created the Pasadena Coffee Passport to spotlight the city's specialty shops and invite locals and visitors to explore together.Her community-building chops were sharpened inside social enterprise coffee, where she helped operationalize youth workforce programs and day-to-day café impact in Pasadena. That experience informs how she curates shops, designs activations, and measures what actually moves the needle for small businesses.Looking ahead, she's developing the Highland Park Coffee Passport and laying the groundwork for Nightcap Collective, a neighborhood social club meant to spark face-to-face connection after hours. The goal is simple: create intentional spaces—day and night—where people can meet, talk, and support local spots.In this episode, we dig into how a simple idea—stamp your way through local cafés—became a platform for small-business discovery, creator collaborations, and neighborhood pride. We cover partner selection, passport mechanics, shop economics, and how coffee culture can anchor inclusive community spaces across the San Gabriel Valley and Northeast LA. Keywords: Pasadena Coffee Passport, Highland Park Coffee Passport, Pasadena coffee shops, SGV cafés, coffee crawl, coffee community, social enterprise, Nightcap Collective.__________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

Send us a textHere's the story behind a multi-Emmy-winning journalist whose roots run deep in the San Gabriel Valley. Raised by a family that fled Vietnam, she grew up in local neighborhoods, went to San Gabriel High, and learned early how community shapes character. Those SGV years—family hustle, public schools, and a love for Dodgers and Lakers seasons—set the tone for a life built on curiosity, resilience, and service.Her career started the old-school way: entry-level newsroom roles, odd hours, and saying yes to every assignment. From California to a pit stop in Texas and eventually New York, she worked in some of the country's top markets—writing, producing, and learning the daily news grind while chasing long-form investigations. Along the way, she developed a reporter's instinct for people stories and a producer's discipline for facts, timelines, and accountability.That path led to national leadership, guiding a consumer/business/technology team that turns complex topics into clear, useful coverage. The through-line is personal: growing up SGV taught her to translate big systems into everyday impact—how inflation hits families, how scams target the vulnerable, how tech and privacy shape real life. Service journalism isn't a buzzword here; it's a mission.This episode traces the journey from SGV kid to national newsroom leader—the early jobs that opened doors, the mentors who mattered, the pivots that stuck, and the values that never changed. Watch to learn how local roots can power a national career, and drop a comment with a San Gabriel Valley memory or the consumer/tech question you want answered next. Keywords: San Gabriel Valley, SGV, immigrant family, AAPI, journalism career path, newsroom producer, consumer news, tech news, CBS News, service journalism, UC San Diego, Los Angeles.__________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

In this special episode of SGV Connect, your hosts SBLA SGV Reporter Chris Greenspon and SBLA Editor Joe Linton take listeners on a tour of the newly opened Metro A Line (formerly Foothill Gold Line) extension. The trip begins at the new Glendora Station, where we walked to Finkbiner Park. From there, we go east to San Dimas for lunch at the cozy Rail Side Café. Then in La Verne, we take in Bonita Avenue's elaborate Halloween decorations. Try to see these for yourself before they're gone (photos below). The journey concludes in Pomona at the Pomona North, for now the end of the line, where commuter rail and light rail make for a key working-class transit hub. Along the way, we reflect on walkability, local character, and how to enjoy this side of the SGV without a car. Plus more recommendations in each town. A copy of the transcript is available below. SGV Connect is supported by Foothill Transit, offering car-free travel throughout the San Gabriel Valley with connections to the new Gold Line Stations across the Foothills and Commuter Express lines traveling into the heart of downtown L.A. To plan your trip, visit Foothill Transit. "Foothill Transit. Going Good Places."Sign-up for our SGV Connect Newsletter, coming to your inbox on Fridays! Chris Greenspon: Welcome to SGV Connect episode 143. I'm Chris Greenspon. Damien Newton has the day off for this episode because it's a special tour of the Metro A Line extension with our editor, Joe Linton, and me. We want to keep the spotlight on this new part of the light rail system in the 626. But first, a reminder that SGV Connect is supported by Foothill Transit, offering car-free travel throughout the San Gabriel Valley with connections to the new A Line stations across the foothills and commuter express lines traveling into the heart of downtown L.A. To plan your trip, visit foothilltransit.org. Foothill Transit—going good places. Now, of course, the Foothill A Line connects SGV residents in the foothills to Pasadena, downtown L.A., and Long Beach. But did you know you can also ride it east? To give you a feel for what you can get up to in the area, we took a ride on the train and got out at each stop to explore and talk about what there is to see and do. Joe Linton: My name is Joe Linton. I'm the editor of Streetsblog Los Angeles. I'm here with— Chris Greenspon: Chris Greenspon, reporter for the San Gabriel Valley region, SGV Connect. Joe Linton: We're here at the brand-new Glendora Metro A Line Station. It's one of four new stations. Today we're going to take a sampling tour of the four new stops on the A Line—the former Gold Line, or Foothill Gold Line as they called it—and see what you can walk to near the stations, what's interesting about each one, and get a sense of what you can expect when you ride the new train. Chris Greenspon: Glendora, of course, is known for The Donut Man with its seasonal strawberry and peach donuts. But there's also The Hat's classic pastrami and JPM Comics, all within a short bike ride of the train. We walked past downtown Glendora's charming gumdrop trees and historic houses to reach the real center of Glendora life—Finkbiner Park. It's a nice green space with volleyball, a skate park, pickleball courts, basketball, and a band shell. But remember, it's Finkbiner, not Finkbinder. Joe Linton: Okay, Finkbiner Park—it's not a hop, skip, and a jump from the Metro station, but it's what, a 15- or 20-minute walk? Not bad. There was probably a more direct route. It's one of those things with transit—I tell people, "Oh, I like this restaurant or this park," and it's not like I'd drive across town to get there, but because it's within a few blocks of a Metro stop, it's easy for me to go. It's easy to take my daughter there. It's not always the most incredible destination, but it's close and pleasant. Chris Greenspon: That was a big reason why I started reporting on the San Gabriel Valley in the first place—even before anyone was paying me—because it's nice that there are regular, local places to go, things to do, and people to see. It's not like going to Griffith Park where you'll see 400 tourists from Norway getting off a bus. You can actually have some breathing room here and hear yourself think. Speaking of journeys that aren't just about the destination, next we headed to San Dimas Station. Get off in San Dimas if you're looking for trails or a bigger regional park like Bonelli. Check out the Antonovich Trail leading into San Dimas Canyon and Cataract Falls—a great place to watch the sunset. This wilderness between freeways must have inspired the carved walking stick art back up at the Metro station. These wildlife pieces are great—I like the salamander back there and the skunk right here. Our stop included a one-block hike for lunch at Railside Café, right beside the San Dimas Metro Station, where we even had train-shaped breakfasts—just kidding. Joe Linton: It was yummy. I'm a sucker for muffins and gravy, whatever—it scratched a certain itch. Not something I should eat every day, but very good, and it's just a block south of the San Dimas Station. Chris Greenspon: Yeah, with ample patio seating. Moving on—with Halloween on the rise, we took to Old Town La Verne. Every October, the million-dollar homes on both sides of Old Town get decked out with awesome Halloween decorations. On All Hallows' Eve, Bonita Avenue is partially closed to vehicles, and trick-or-treating begins around 5:30 p.m. There are also some great restaurants there if you want something besides candy afterward. Joe Linton: This one's got stuffed animals, blood-splattered sheets, and a sign saying "Free Horror Show." It's been taped over and rewritten—it's kind of awesome. Chris Greenspon: Yeah, I don't even know what game this is supposed to be—maybe you're supposed to throw baseballs at dolls or something? Joe Linton: Creepy—not just dolls, but creepy dolls, like the kind that might inhabit your nightmares. Chris Greenspon: This is the pièce de résistance—the Jaws-themed house with five screaming sharks coming out of the grass. Joe Linton: Life-size—what, seven or eight feet tall? Sharks with mouths open, sharp teeth, severed limbs in the mouths. So how does it look at night? Chris Greenspon: It looks great at night. See our pictures at la.streetsblog.org on the post for this episode. And while you're there, click the link to read about the pedestrian bridge that the City of La Verne is building over Arrow Highway to connect the Metro station to the Fairplex. Now, back on the train. This is your Metro. Let's keep it clean. Chris Greenspon: Pomona is the end of the line for now. For that reason, it's by far the most-used of the new stations, and it has great art paying tribute to everyday Pomonans—but it feels like something's missing. Joe Linton: We're not in the heart of Pomona. The station is called North Pomona. Downtown Pomona has the museums, cafés, City Hall, good food, and music. Here, we're at the north end of town—more of an industrial rail corridor, not much housing or retail. Chris Greenspon: There is some newer, more upscale housing on this side—it's a quieter part of town. This is the part of Pomona that people tend to associate more with Claremont or La Verne. Joe Linton: Yeah. So Pomona North doesn't have a lot to walk to today. The city is building new housing along Garey Avenue, and there's more in the works. There's also an old depot building the city hopes to turn into a café or coffee shop. So there are efforts to activate the area, but there's not much open yet. Let's walk over to the Metrolink Pomona North Station, which is about 40 feet from the A Line platform. Chris Greenspon: This connection between light rail and commuter rail makes Pomona North decidedly the most working-class stop on the A Line extension. Joe Linton: It's on the San Bernardino Line, which runs about every half hour during the day on weekdays. You can get to San Bernardino—all the way to Redlands via another connection. There's not much to do right here, but it's a worthwhile connection. You can get to Claremont, Montclair, and points further east on the Metrolink train. Chris Greenspon: There's also a shuttle here that takes people to Cal Poly, so it's a great connector. Joe Linton: Yeah, it's an end-of-the-line commuter station with a lot of parking. The hope is to extend to Claremont and Montclair, but that'll take a while. This is the end of the line for now. Chris Greenspon: And that's our little tour of the new A Line stops and their surroundings. Hopefully it'll get extended to Claremont before too long, but in the meantime, you can bike there from Pomona North. Some system info: trains run from 5 a.m. to midnight, and fares are $1.75 with free transfers. During peak hours, trains run about every six minutes, a bit slower in between. That's all. I'm Chris Greenspon—thanks for listening to SGV Connect.  

This week, we're putting the spotlight on La Verne, CA—one of Southern California's most charming foothill cities. Nestled in the San Gabriel Valley, La Verne offers small-town warmth with the convenience of a big city. From its citrus roots and community feel to the newly opened La Verne Metro Station shaking up housing demand, we're breaking down what makes this city stand out. From current market trends and rental prices to neighborhood highlights, pros and cons, and the insider tips you'll want to know before buying or renting here. Whether you're a local, an investor, or just dreaming of a new zip code... this one's for you.

Send us a textHere's a conversation with a lifelong civic servant whose roots run from Monterey Park to Pomona and the San Gabriel Valley. With decades in urban planning and community development, he brings a ground-level view of how cities actually work—housing, zoning, economic development, schools, and the partnerships that make neighborhoods thrive. He currently serves on the Pomona City Council and has spent years volunteering on youth, planning, and education boards that shape real outcomes for families.We trace his path from Cal Poly Pomona's urban and regional planning program to roles in Claremont and Montclair, including Director of Community Development. Along the way, he bridged policy and practice: general plans, code enforcement, downtown revitalization, and the day-to-day tradeoffs between growth, character, and affordability. His private-sector experience adds a practical lens on budgets, operations, and service that complements public service.Community impact sits at the heart of his story. From the Pomona Planning Commission and the Pomona Unified School District Board to Habitat for Humanity's design and construction work, he has focused on long-term value—safer streets, stronger schools, and projects that pencil out for residents and businesses. We talk about aligning city hall, neighborhoods, and nonprofits so progress sticks beyond any single term.If you care about how local government shapes quality of life—housing supply, small business corridors, parks, transportation, and civic engagement—this episode is a field guide. Keywords: Pomona City Council, Monterey Park, San Gabriel Valley, Cal Poly Pomona, urban planning, community development, affordable housing, code enforcement, economic development, downtown revitalization, Habitat for Humanity, local government leadership.__________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

Send us a textHere's the story of a radical preacher and Christian hip-hop artist from Rosemead in the SGV whose life was changed by a powerful encounter with Jesus. He shares how he was healed from an “incurable” mental illness, received a new purpose, and set out to reach the streets, homes, and the hearts of the broken with the gospel. From local roots to West Coast impact, his mission is simple: make Jesus known.We talk about the season he stepped away from music for deeper consecration—prayer, fasting, and intimacy with God—and how that refinement shaped his voice. When he preaches, the room shifts; when he raps, the message lands. Street evangelism, testimonies, and viral gospel reels all serve one aim: call people to repentance, freedom, and a real relationship with Christ.His movement, LIVING IN TRUTH, raises a standard for this generation—holiness, boldness, and biblical truth. We get practical about building faith communities around scripture, prayer, and accountability, plus how to partner with churches, creatives, and youth leaders to spark local revival that lasts beyond a single event.If you're hungry for testimonies of healing and deliverance, curious about gospel rap and street ministry, or looking for a blueprint to share your faith online, this episode is for you. Keywords: Christian hip hop, gospel rap, street evangelism, testimony, deliverance, revival, Holy Spirit, Rosemead, San Gabriel Valley, LIVING IN TRUTH, faith content, youth ministry, West Coast revival.__________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

Send us a textHere's a conversation with a seasoned UI/UX designer and design strategist with 20+ years of experience building products used by millions. Her portfolio spans Google, PayPal, CBS Interactive, Fox Broadcasting Company, and Warner Music Group. She leads with empathy and business clarity—using research-driven decisions to ship smart, simple solutions that serve users and goals.We unpack how to turn complexity into clarity: reorganizing information, optimizing workflows, and inventing custom solutions. From information architecture and service blueprints to prototyping and design systems, she shows how to shake out all the moving pieces, surface insights, and connect them into experiences that actually make sense.Beyond pixels, we dive into organizational design. She structures decision-making, alignment, and evolution at scale—bridging product, design, and engineering so thinking, execution, and alignment happen simultaneously. Expect practical frameworks for cross-functional workshops, prioritization, and roadmapping that keep teams moving.If you work in product design, product management, or engineering leadership, this episode is a field guide to enterprise UX, service design, and design ops. We cover discovery to delivery, stakeholder buy-in, metrics that matter, and the habits that ship impactful products repeatedly. Keywords: UI/UX, product design, design systems, service design, information architecture, design strategy, organizational transformation, stakeholder alignment, enterprise UX, design ops.__________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

This week's SGV Connect Podcast features a pair of interviews by Chris Greenspon with Baldwin Park City Councilmember Emanuel Estrada and Filmaker Nicola Pieper. Greenspon and Estrada discuss Baldwin Park's $266,000 relief fund for families affected by immigration raids, which offers rent and grocery assistance. Estrada emphasized long-term planning, grassroots action, and multi-county cooperation, noting that all council members have immigrant backgrounds. You can read a transcript of the interview here. In the second interview, Greenspon and Pieper discuss her short documentary All That She, a poetic portrait of 67 women from four continents, including many from the San Gabriel Valley. The film challenges stereotypes and celebrates cultural diversity and connection. A San Gabriel Valley resident for three years, Pieper says the project reflects the community's warmth and interwoven social fabric. The film will be available online next year. But for now you can check out a teaser for All That She here or read an edited copy of the interview here. SGV Connect is supported by Foothill Transit, offering car-free travel throughout the San Gabriel Valley with connections to the new Gold Line Stations across the Foothills and Commuter Express lines traveling into the heart of downtown L.A. To plan your trip, visit Foothill Transit. “Foothill Transit. Going Good Places.”Sign-up for our SGV Connect Newsletter, coming to your inbox on Fridays!  

Send us a textHere's the story behind B Nutritious, a Southern California meal-prep brand built on a real transformation. After years in a desk-bound insurance role, Brian Nguyen gained weight, discovered Muay Thai, and went deep on nutrition to rebuild his health—dropping 80 pounds in the process. Friends and family started asking for his Asian-inspired, macro-friendly meal plans, and a personal habit turned into a business focused on clean, flavorful food that fits real life.Today, B Nutritious serves dine-in, takeout, delivery, catering, and weekly meal prep—bringing bowls, noodles, salads, and protein-packed plates to busy professionals, gym goers, and families. The brand grew from a few trays a week to thousands across Southern California, with community hubs in El Monte and Fountain Valley and an active social presence that spotlights customers' progress and behind-the-scenes prep.In this episode, we dig into the systems behind scaling a healthy fast-casual and meal-prep model: how to design menus that balance flavor with macros, build a packaging and cold-chain workflow that travels well, and use content and community to keep customers consistent. We talk sourcing, pricing, and portioning; what metrics matter (retention, prep cadence, average order value); and how partnerships—gyms, events, and local creators—drive sustainable growth.If you're curious about meal prep, weight-loss nutrition, small-business ops, or the SGV food scene, this conversation is for you. Watch to learn how a simple “cook for friends” routine became a movement, and drop a comment with your favorite macro-friendly dish or go-to post-workout order. Keywords: meal prep, healthy Asian fusion, macro friendly, weight loss meals, El Monte, Fountain Valley, meal delivery, fitness nutrition, small business, Southern California food.__________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

Send us a textHere's a deep dive with the CEO behind Drone Strategic Partners, a firm helping organizations adopt drones, robotics, and automation to modernize security and operations. We get into how a lean aerial program can extend ground teams, drive faster decisions, and document incidents in real time without ballooning costs—think smarter patrols, clearer data, and fewer blind spots at scale.We trace the company's roots from years in insurance claims adjusting to an InsurTech approach that now supports real estate, construction, engineering, and small business clients. That background matters: they built their model around speed, documentation, and risk reduction—skills that translate directly to aerial security and inspections.On capabilities, we break down where drones make the biggest difference: upping patrol frequency, improving guard reliability, deterring crime and theft, and cutting costs via automation. We also cover the rollout playbook—policy, training, compliance, and data workflows—plus why they position themselves as a national brokerage to match each client with the right aircraft, payloads, software, and monitoring partners.If you're exploring drone security, robotics, or automation strategy, this episode covers the business case end-to-end: use cases, implementation steps, team training, and measurable ROI. Topics include drone security, autonomous patrols, aerial inspections, robotics, risk management, real estate security, construction monitoring, incident documentation, and guard force multipliers.__________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

Send us a textMeet Dr. Ken Thai, PharmD—CEO of 986 Degrees Corporation (a pharmacy franchise), multi-site independent pharmacy owner across Southern California and Nevada, and Adjunct Assistant Professor of Pharmacy Practice at USC and Western University. A past president of CPhA (California Pharmacists Association) and current national VP at NCPA, he was honored with the 2022 NCPA Willard B. Simmons Independent Pharmacist of the Year. His career blends leadership, education, and entrepreneurship, always anchored to better patient care.In this conversation, we trace his path from a UCLA biology degree to a USC School of Pharmacy PharmD, followed by a Community Pharmacy Practice residency at USC. We dig into how he opened and scaled multiple independents—spanning long-term care, compounding, DME, infusion, and specialty—and why he built a franchise model to mentor and multiply pharmacist-owners. You'll hear how he designs training that sticks, builds culture across locations, and keeps teams focused on outcomes.We also talk about teaching and precepting: what pharmacy students need now, the mindset shift from clinician to owner, and practical steps to evaluate a market, choose services, and launch sustainably. Dr. Thai shares playbooks on onboarding, metrics that matter, quality systems, and how associations like CPhA and NCPA shape the future of independent pharmacy and pharmacy entrepreneurship.If you're a pharmacy student, new grad, independent owner, or healthcare entrepreneur, this episode is your blueprint for growth. Drop your questions in the comments, share with a colleague who's thinking about ownership, and subscribe for more SGV stories at the intersection of leadership, small business, and patient care. Keywords: independent pharmacy, pharmacy franchise, pharmacy ownership, pharmacy management, USC School of Pharmacy, Western University of Health Sciences, CPhA, NCPA, 986 Degrees, pharmacy entrepreneur.__________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

A recent federal indictment unsealed in June 2024 details a sophisticated scheme involving the Sinaloa Cartel and Chinese money launderers in Los Angeles. The indictment charges 24 individuals, including key figures such as Edgar Joel Martinez-Reyes, with conspiracy to distribute drugs, launder money, and operate an unlicensed money-transmitting business.This investigation, dubbed "Operation Fortune Runner," revealed that over $50 million in drug proceeds were laundered through an underground banking system linked to Chinese nationals. The money laundering network, based in the San Gabriel Valley of California, processed and concealed large amounts of drug trafficking proceeds, making them accessible to cartel members in Mexico and elsewhere. Methods used included trade-based money laundering, asset structuring, and the purchase of cryptocurrency.The collaboration between U.S., Chinese, and Mexican law enforcement led to the arrest of several fugitives involved in this scheme. This case underscores the growing partnership between Mexican drug cartels and Chinese organized crime groups to launder drug money, which funds the production and distribution of dangerous drugs like fentanyl and methamphetamine in the United States​.In this episode we take a look at that indictment.  to contact me:bobbycapucci

A recent federal indictment unsealed in June 2024 details a sophisticated scheme involving the Sinaloa Cartel and Chinese money launderers in Los Angeles. The indictment charges 24 individuals, including key figures such as Edgar Joel Martinez-Reyes, with conspiracy to distribute drugs, launder money, and operate an unlicensed money-transmitting business.This investigation, dubbed "Operation Fortune Runner," revealed that over $50 million in drug proceeds were laundered through an underground banking system linked to Chinese nationals. The money laundering network, based in the San Gabriel Valley of California, processed and concealed large amounts of drug trafficking proceeds, making them accessible to cartel members in Mexico and elsewhere. Methods used included trade-based money laundering, asset structuring, and the purchase of cryptocurrency.The collaboration between U.S., Chinese, and Mexican law enforcement led to the arrest of several fugitives involved in this scheme. This case underscores the growing partnership between Mexican drug cartels and Chinese organized crime groups to launder drug money, which funds the production and distribution of dangerous drugs like fentanyl and methamphetamine in the United States​.In this episode we take a look at that indictment.  to contact me:bobbycapucci

A recent federal indictment unsealed in June 2024 details a sophisticated scheme involving the Sinaloa Cartel and Chinese money launderers in Los Angeles. The indictment charges 24 individuals, including key figures such as Edgar Joel Martinez-Reyes, with conspiracy to distribute drugs, launder money, and operate an unlicensed money-transmitting business.This investigation, dubbed "Operation Fortune Runner," revealed that over $50 million in drug proceeds were laundered through an underground banking system linked to Chinese nationals. The money laundering network, based in the San Gabriel Valley of California, processed and concealed large amounts of drug trafficking proceeds, making them accessible to cartel members in Mexico and elsewhere. Methods used included trade-based money laundering, asset structuring, and the purchase of cryptocurrency.The collaboration between U.S., Chinese, and Mexican law enforcement led to the arrest of several fugitives involved in this scheme. This case underscores the growing partnership between Mexican drug cartels and Chinese organized crime groups to launder drug money, which funds the production and distribution of dangerous drugs like fentanyl and methamphetamine in the United States​.In this episode we take a look at that indictment.  to contact me:bobbycapucci

A recent federal indictment unsealed in June 2024 details a sophisticated scheme involving the Sinaloa Cartel and Chinese money launderers in Los Angeles. The indictment charges 24 individuals, including key figures such as Edgar Joel Martinez-Reyes, with conspiracy to distribute drugs, launder money, and operate an unlicensed money-transmitting business.This investigation, dubbed "Operation Fortune Runner," revealed that over $50 million in drug proceeds were laundered through an underground banking system linked to Chinese nationals. The money laundering network, based in the San Gabriel Valley of California, processed and concealed large amounts of drug trafficking proceeds, making them accessible to cartel members in Mexico and elsewhere. Methods used included trade-based money laundering, asset structuring, and the purchase of cryptocurrency.The collaboration between U.S., Chinese, and Mexican law enforcement led to the arrest of several fugitives involved in this scheme. This case underscores the growing partnership between Mexican drug cartels and Chinese organized crime groups to launder drug money, which funds the production and distribution of dangerous drugs like fentanyl and methamphetamine in the United States​.In this episode we take a look at that indictment.  to contact me:bobbycapucci

Send us a textI'm excited to introduce Irene—@irenieeweeniee—who turned a corporate layoff and months of misdiagnoses into a mission. After learning she had ovarian cancer, she started editing food videos on her phone and sharing her story on TikTok. What began as a way to cope became a platform for honest storytelling and women's healthcare advocacy.Irene's roots run through the SGV. Her immigrant parents ran a Thai restaurant, and weekends here taught her the hustle behind small businesses and where to find the real hidden gems. That perspective shapes everything she creates now: restaurant spotlights, must-try dishes, and a sprinkle of beauty content—always practical, upbeat, and community-minded.In this episode, we dig into how she navigated misdiagnosis, what helped her advocate for herself, and how she built momentum posting straight from a phone. We get tactical about consistency, captions, voiceover, and staying human on camera—plus how creators can responsibly shine a light on mom-and-pop restaurants across the San Gabriel Valley.If Irene's journey resonates, drop a comment with your SGV hidden gem and something you've learned from her content. Follow @irenieeweeniee, support the local spots mentioned, and subscribe for more SGV stories that connect food, family, creativity, and community.__________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

Habitat for Humanity has been helping to put roofs over people's heads for decades and in the aftermath of the Eaton Fire in January of 2025, CEO of Habitat for Humanity San Gabriel Valley has promised to build 200 homes for those fire survivors.  Caitlin and John Stamos recently volunteered at a build day and want to get more people involved in the many upcoming build days on the road to recovery for the Altadena area.Bryan Wong has been leading a team of 50+ individuals in the mission of building homes, community and hope in the San Gabriel Valley since April 2021. Prior to his role as SGV Habitat CEO, the Cal Poly Pomona graduate founded his own affordable housing nonprofit, The American Homeownership Foundation, served 10 years on the board of directors for Los Angeles Nation Bank, and on the Monrovia Board of Education for about 17 years – highlighting his greatest passions, education and homeownership.Link:https://sgvhabitat.org/

Send us a textHere's the story behind GD Burgers in La Puente. I sat down with Daniel “Danny” Hyun, who went from leading at LA Fitness to helping his father at the family counter—and then taking over. His path blends discipline, service, and a deep commitment to the San Gabriel Valley. If you've ever wondered how a family business grows into a neighborhood staple, this is it.GD Burgers is classic SGV comfort: char-broiled burgers, teriyaki plates, and generous portions made for regulars. You'll find it at 14273 Amar Rd, La Puente, CA 91746. More than a menu, it's a story of a son honoring his dad's work while putting his own stamp on the place.Danny also treats social media like a craft. In our conversation, he shared that his creative Instagram posts bring in 5–7 new customers every day. It's consistent, personal, and rooted in community—proof that honest storytelling still moves people.In this episode, we dig into the jump from fitness to food, how leadership habits transfer to the kitchen, and what it takes to keep a small business thriving in the SGV. Watch, then go say hi to Danny and taste what he's building in La Puente.__________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

A recent federal indictment unsealed in June 2024 details a sophisticated scheme involving the Sinaloa Cartel and Chinese money launderers in Los Angeles. The indictment charges 24 individuals, including key figures such as Edgar Joel Martinez-Reyes, with conspiracy to distribute drugs, launder money, and operate an unlicensed money-transmitting business.This investigation, dubbed "Operation Fortune Runner," revealed that over $50 million in drug proceeds were laundered through an underground banking system linked to Chinese nationals. The money laundering network, based in the San Gabriel Valley of California, processed and concealed large amounts of drug trafficking proceeds, making them accessible to cartel members in Mexico and elsewhere. Methods used included trade-based money laundering, asset structuring, and the purchase of cryptocurrency.The collaboration between U.S., Chinese, and Mexican law enforcement led to the arrest of several fugitives involved in this scheme. This case underscores the growing partnership between Mexican drug cartels and Chinese organized crime groups to launder drug money, which funds the production and distribution of dangerous drugs like fentanyl and methamphetamine in the United States​.In this episode we take a look at that indictment.  (commercial at 8:05)to contact me:bobbycapuccisource:IND.pdf (justice.gov)Become a supporter of this podcast: https://www.spreaker.com/podcast/the-moscow-murders-and-more--5852883/support.

A recent federal indictment unsealed in June 2024 details a sophisticated scheme involving the Sinaloa Cartel and Chinese money launderers in Los Angeles. The indictment charges 24 individuals, including key figures such as Edgar Joel Martinez-Reyes, with conspiracy to distribute drugs, launder money, and operate an unlicensed money-transmitting business.This investigation, dubbed "Operation Fortune Runner," revealed that over $50 million in drug proceeds were laundered through an underground banking system linked to Chinese nationals. The money laundering network, based in the San Gabriel Valley of California, processed and concealed large amounts of drug trafficking proceeds, making them accessible to cartel members in Mexico and elsewhere. Methods used included trade-based money laundering, asset structuring, and the purchase of cryptocurrency.The collaboration between U.S., Chinese, and Mexican law enforcement led to the arrest of several fugitives involved in this scheme. This case underscores the growing partnership between Mexican drug cartels and Chinese organized crime groups to launder drug money, which funds the production and distribution of dangerous drugs like fentanyl and methamphetamine in the United States​.In this episode we take a look at that indictment.  to contact me:bobbycapuccisource:IND.pdf (justice.gov)Become a supporter of this podcast: https://www.spreaker.com/podcast/the-moscow-murders-and-more--5852883/support.

Send us a textWendy Yu and Huong Thai are the co-founders of Happy Humble Hub, a unique community space in Alhambra, California designed to bring people together in meaningful ways. Their stories of resilience, risk-taking, and vision are deeply rooted in the San Gabriel Valley, and their work is inspiring a new wave of creativity and connection across Southern California.About Wendy YuWendy grew up in the San Gabriel Valley as the eldest daughter of a Chinese immigrant family. From a young age, she shouldered responsibilities far beyond her years—acting as a translator, financial planner, and advocate for her parents while excelling in school and work. She became the first in her extended family to graduate from college and later the first to step into entrepreneurship. Her life experience taught her the value of perseverance, education, and community support, and she now channels that into Happy Humble Hub.About Huong ThaiHuong emigrated from Vietnam to California at the age of four and spent her formative years in the San Gabriel Valley. After building a successful career in San Diego in both tech and healthcare, she felt called to return to her hometown. Leaving behind financial stability and career security, Huong took a leap of faith, moving back into her parents' living room without a clear plan. That decision ultimately led her to meet Wendy, and together they launched Happy Humble Hub as a place where others could also take risks, pursue passions, and build community.About Happy Humble HubHappy Humble Hub is a creative “third space” beyond home and work, located in Alhambra in the heart of the San Gabriel Valley. The Hub hosts a wide variety of events, including weekend pop-up markets for local artists, stand-up comedy shows, yoga classes, board game nights, and community workshops. It is designed as a venue where people can gather offline, connect in authentic ways, and celebrate creativity. With its lush, immersive atmosphere and flexible event spaces, Happy Humble Hub is quickly becoming one of the most exciting new destinations in Los Angeles County.In this episode, Wendy and Huong share their personal journeys—navigating immigrant family dynamics, career transitions, and the courage to start something new from scratch. Their stories highlight the resilience and vision that fuel entrepreneurship and community building in the San Gabriel Valley.If you are interested in entrepreneurship, community building, small business development, or the future of creative spaces in Los Angeles and the San Gabriel Valley, this episode is for you.__________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

Send us a textDr. Richard S. Cheung is a second-generation chiropractor and athletic trainer who has been serving the Pasadena community since 1998. He holds a Doctor of Chiropractic degree from the Los Angeles College of Chiropractic and a bachelor's degree from San Diego State University. With more than 26 years of clinical experience, Dr. Cheung specializes in sports medicine, injury recovery, and corrective rehabilitation.At his private practice on Lake Avenue in Pasadena, Dr. Cheung provides personalized, hands-on care in a warm and welcoming environment. He treats a wide range of conditions, from chronic neck and back pain to auto accident injuries, sports-related trauma, scoliosis, and postural imbalances. Patients consistently commend him for his thoroughness, attentiveness, and ability to deliver lasting relief.Dr. Cheung is also a certified Kinesio Taping instructor and has taught courses nationwide and internationally since 2011. In addition to running his practice, he has served as Director of the Sports Medicine Residency program and is currently an Adjunct Assistant Clinical Professor at the Southern California University of Health Sciences.Beyond his clinical work, Dr. Cheung is a committed community leader. He has served as board president for Friends In Deed, co-chaired the LA's BEST advisory board, and is currently on the board of the Asian American Professional Association. He also volunteers as a medical director for local high school sporting events, continuing to support youth and families through health education and service.In his personal time, Dr. Cheung enjoys family life, yoga, outdoor activities, and staying engaged in wellness initiatives across the San Gabriel Valley. His life's work reflects a deep commitment to healing, education, and community impact.__________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

Send us a textKaila Yu is a Los Angeles–based luxury travel and culture journalist whose bylines include The Los Angeles Times, The New York Times, Rolling Stone, and more. Before her journalism career, she was an actress, an import model, the lead singer of the rock band Nylon Pink, and a student at UCLA. Each chapter of her life, as she shares in her upcoming memoir Fetishized: A Reckoning with Yellow Fever, Feminism, and Beauty (Crown, releasing August 19, 2025), was deeply marked by fetishization—often by others, but painfully, at times, by herself.In her memoir, Kaila traces how growing up in the late '90s and early 2000s with limited and hypersexualized Asian female representation shaped her identity. Without authentic role models in media, she learned early that being seen often meant being objectified. She leaned into visibility through modeling, music, and entertainment, but struggled with constant performance—writing overtly sexual lyrics, undergoing body-altering surgeries, and living through years of haze and internal disconnection.Fetishized boldly dismantles the narratives media, culture, and history have forced onto Asian American women. Kaila writes with raw honesty about coercion, trauma, and pain—including being manipulated by a pornographer and having the footage distributed without her consent. She weaves these personal stories with cultural critique, referencing everything from the War Bride Act of 1945 to the myth of the “submissive Asian woman,” and how tropes like these continue to impact real lives. Her writing is both personal and political—an act of truth-telling, resistance, and healing.Now, as she nears publication of her debut book, Kaila is stepping into long-form storytelling with courage and clarity. Her goal: to provide strength and education for others who have experienced similar objectification, and to invite everyone—especially Asian American women—into a deeper understanding of their worth. Through her journalism, her art, and her voice, Kaila Yu is fighting for a world where visibility isn't conditional on being fetishized.__________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

Camilla Taylor, Los Angeles artist, and curator of “My House Burned Down” (at Track16 Gallery), talks about: Her childhood with complicated religious origins, between her Mormon LDS father and her mother who branched off to start her own organization (some might say ‘cult,' per Camilla), and how art, for her and many artists, can often fit the functions that people are often looking for in religions (including being part of something bigger than themselves); how she's really good at compartmentalizing, seeing difficult experiences from her life as existing in rooms in a house, where she can shut the door to any given room; the epic story of experiencing her house burning down in the Eaton Fire in Altadena-- from her 16-hour drive home from the Sitka Center residency in Oregon, to seeing it when she approached her part of the San Gabriel Valley, to arriving home and having the wind lift her off her feet, to their belated evacuation; and subsequently how she found out her and her partner's house, and her studio, had burned down, and that that process of mourning has been like; how trauma has manifested from losing her home and studio, and the range of reactions she's received, including a lot of suggestions that are tone-deaf; what insurance will cover, and the studio spaces she's been loaned/gifted for now, putting off the need for having to rent a studio for the first time (since studios have always been attached to her living spaces). This podcast relies on listener support; please consider becoming a Patreon supporter of the podcast, for as little as $1/month, here: https://www.patreon.com/theconversationpod In the 2nd/Patreon Bonus half of the conversation, Camilla talks about: How, because of her visibility as an artist, she's been more fortunate than many others who lost homes/studios in the fire by receiving a range of resources that artists less visible have not; the lawsuits against Southern California Edison, who allegedly started the Eaton fire; the group show she curated, ‘My House Burned Down,' at Track 16 Gallery, which included four artists who lost their homes in the Eaton fire, and four artists who lost their homes in prior fires, and how the show addressed a commonality in losing one's home as an artist, with an extra emphasis on materiality; how while she doesn't know what the right reaction is, when people learn that her house (and studio) burned down in a fire, she knows that the reaction that she's going to rise above it, like the phoenix from the ashes, is absolutely not the reaction to have, because it's hurtful especially in its negating of what happened to her; and we have an extensive exchange about what I have long referred to as “the P-word,” as in ‘practice, as in ‘my art practice, a word Camilla also hates, and she talks about why language has become so important in art/the art world, including her take that artists overcompensate in art because, essentially, we/art is so unimportant to everyone else; and Camilla shares her favorite and least favorite art-speak words; and how in her teaching she's honest with students about how their work affects her, as opposed to making art historical comparisons.

Send us a textChris Martinez is a second-generation Cuban American from Miami whose life took flight in 2010 when he enlisted in the military and served in Hawaii. At just 23, he began investing in real estate—building a portfolio across Florida, Hawaii, and California. His early success speaks to his entrepreneurial mindset and strategic vision.By 2017, Chris fully transitioned out of the military to launch a vacation rental business in Hawaii. His ability to balance property management, guest experience, and local tourism gave him a solid foundation in hospitality and real estate operations. In 2020, he moved to the San Gabriel Valley to attend USC, where he earned his undergraduate degree and is now nearing completion of a master's in Real Estate Development.While rooted in the SGV, Chris and his wife have made San Gabriel their home, reinforcing their personal and professional investment in the community. He earned his contractor's license and founded Modern Evolution Homebuilders—a general contracting firm delivering quality craftsmanship in home building, renovations, and ADUs. His USC credentials and veteran background add depth to his leadership in residential development.Chris also works with Vinco Vinco Realty Group as a licensed California real estate broker with experience in affordable housing and commercial developments. His work includes facilitating transactions on behalf of major landlords like GE Capital and Westfield, and supporting community land trusts and FHA-backed housing. Across roles, he bridges investment, construction, and community impact in LA markets.At home in San Gabriel with his wife and twins, Callisto and Elara, Chris blends family life with a mission-driven career. He builds not just homes, but long-term community value—drawing from his Cuban-American roots, military discipline, and USC expertise to build a future for his family and his region.__________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

Petty Officer Scott Ruskan, 26, a young Coast Guard rescue swimmer, is a hero after saving 165 people at Camp Mystic during the devastating floods in early July 2025. AND Francis Wong is one of the most vibrant members of her San Gabriel Valley community. To see videos and photos referenced in this episode, visit GodUpdates! https://www.godtube.com/blog/coast-guard-rescue-camp-mystic.html https://www.godtube.com/blog/bowling-at-103-oldest-on-the-team.html Discover more Christian podcasts at lifeaudio.com and inquire about advertising opportunities at lifeaudio.com/contact-us.

Send us a textJackson Ridd is a Los Angeles–based mentalist and magician whose performances blend psychological insights with theatrical flair. A resident star at Black Rabbit Rose, Rideau Speakeasy, and the Wonzimer Gallery, Jackson delivers immersive stage shows and intimate close‑up routines. His work has been praised as “both perplexing and haunting,” reflecting his talent for forging deep, psychic connections with audiences.His television and festival credits include appearances on CW's Masters of Illusion Season 11 and Miss Brown at the Tribeca Festival. At Tribeca, he showcased sleight‑of‑hand mastery for a documentary on advantage play, reinforcing his reputation as a magician who transcends simple tricks.Jackson's approach is rooted in his fascination with the subconscious. His early interest in pendulum rituals, I‑Ching, and spiritual play shaped his focus on mentalism over conventional magic. He seeks to elevate the everyday, inviting audiences to see the beauty hiding in perception.Beyond entertainment, he's committed to giving back—supporting youth arts education and addressing homelessness in Los Angeles. This sense of purpose merges into his artistry: he sees magic not just as illusions, but as tools for empathy and connection.Off stage, Jackson channels his energy into adventurous pursuits like rock climbing, scuba diving, and sports cars. These challenges mirror his magical ethos: curiosity, physicality, and pushing boundaries. His broad interests fuel the creative spark that defines both his lifestyle and performance.__________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

Pastor Art Reyes stepped out to plant a home Bible study in Rosemead, California in 2014. Soon after, it became known as Alive Christian Fellowship, a vibrant young church that began to grow and meet the needs in San Gabriel Valley. Currently Pastor Art is the senior pastor at Calvary Chapel Downey. He has a passion for the exposition of God's Word and a desire to see lives transformed because of it. He serves the Lord joined by his wife Briana and three kids, Caleb, Micah, and Moriah.I. The Right Attitude (v. 24)II. The Right Motivation (v. 25)III. The Right Commitment (vv. 26-27)

Send us a textJonathan “JDM” Wong's journey reads like the ultimate dream for anyone immersed in Japanese car culture. Born in Hollywood and raised in Pasadena, he fell in love with modified JDM cars as a teen. Alongside high school friends, he co-founded Team Macross 7, linking up with other import crews through AOL's Import Racing chatrooms and staging drag races and car shows across the SGV—solidifying his place in SoCal's grassroots tuning scene.In 1998, Jonathan joined Super Street Magazine as an associate editor. His deep passion for JDM tuning and charisma helped define the magazine's authentic voice. Over the next 15 years, he rose to editor‑in‑chief, traveling across the U.S. and Japan in search of standout sport compacts. Under his influence, the brand surged online—becoming the first auto title to hit 1 million followers on Instagram and Facebook.Jonathan's own builds echo his ethos: he painstakingly restored a '90 Civic EF Si using a rare one‑off Rocket Bunny kit directly from Kei Miura of TRA/Kyoto—an emblem of his dedication to authenticity and community trust. His storytelling and editorial instincts also shaped magazine culture; in a MotorTrend oral history, he recalled how Super Street carved its identity by helping readers install mods themselves—a nod to their DIY roots.After departing Super Street in 2014, Jonathan pivoted into media agency work. He now serves as an account manager at The ID Agency, steering major automotive clients like Formula DRIFT. His expertise continues influencing car culture, albeit behind the scenes. Off duty, he's equally colorful—passionate about graffiti, sneaker collecting, '90s hip‑hop, global food adventures with his wife, and, of course, SoCal cruise nights.__________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

Send us a textErika Herrera and Milton Arredondo are the heart and soul behind Domestic BBQ, the family-owned California-style barbecue spot that's become a local favorite in La Puente and Covina. They made the bold leap from corporate life to smoky kitchens, turning a weekend hobby into a flourishing restaurant. Their success isn't just about cooking—it's about bringing people together with food that feels both comforting and inventive.What makes Domestic unique? Erika and Milton infuse each dish with handcrafted care: meats slow-smoked up to 14 hours, a secret 16-blend dry rub, and signature sauces—all prepared fresh daily. They honor classic Texas-style barbecue while adding their own spin, drawing from their Hispanic heritage and California flair. It's barbecue with a twist—using premium ingredients like Angus beef, Duroc pork, and Jidori chicken, paired with locally brewed craft beers.The menu is filled with stand-out items, but one creation has become a cult favorite: the Brisket Flautas. This clever mash-up wraps their tender, smoky brisket in a crispy tortilla, topped with chipotle crema, cotija cheese, and fresh pico de gallo. It's got the crunch of a street taco, the flavor of a backyard smoker, and the kind of umami punch that makes people do a double take. It's California BBQ at its boldest—and it's unforgettable.Behind the scenes, Erika and Milton remain deeply rooted in the community. Their staff is locally sourced, every corner of the restaurant reflects hometown pride, and their commitment to scratch-made quality makes them a destination worth visiting. Erika says the best part is seeing smiles on customers' faces, while Milton notes that having his wife as a business partner gives him a sense of security and trust as they navigate every challenge together. Their journey shows that when passion meets partnership and heritage meets creativity—you get barbecue that's as meaningful as it is mouthwatering.__________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

Los Angeles is under attack by the Trump Administration. Every day we hear new stories about I.C.E. attacking, detaining and arresting citizens and non-citizens. But we're also seeing lots of stories of community resistance to the I.C.E. raids.In our latest, Bob and Scott talk with Enrique Ochoa about LA's long history of resistance and how different institutions (schools, LAPD, media, unions) are responding to this unprecedented attack on ordinary people trying to live their lives.Bio//Enrique C. Ochoa is Professor of History and Latin American Studies at California State University, Los Angeles. A native of Los Angeles, he grew up in the San Gabriel Valley and received his B.A., M.A., and Ph.D. degrees in History from UCLA.--------------------------------------Outro- "Green and Red Blues" by MoodyLinks//+ Prof. Enrique Ochoa (https://bit.ly/4lmxNR1)Follow Green and Red// +G&R Linktree: ⁠⁠⁠https://linktr.ee/greenandredpodcast⁠⁠⁠ +Our rad website: ⁠⁠⁠https://greenandredpodcast.org/⁠⁠⁠ + Join our Discord community (https://discord.gg/3a6AX7Qy)+Follow us on Substack (https://greenandredpodcast.substack.com)+Follow us on Bluesky (https://bsky.app/profile/podcastgreenred.bsky.social)Support the Green and Red Podcast// +Become a Patron at https://www.patreon.com/greenredpodcast +Or make a one time donation here: ⁠⁠⁠https://bit.ly/DonateGandR⁠⁠⁠ Our Networks// +We're part of the Labor Podcast Network: ⁠⁠⁠https://www.laborradionetwork.org/⁠⁠ +We're part of the Anti-Capitalist Podcast Network: linktr.ee/anticapitalistpodcastnetwork +Listen to us on WAMF (90.3 FM) in New Orleans (https://wamf.org/) + Check us out! We made it into the top 100 Progressive Podcasts lists (#68) (https://bit.ly/432XNJT) This is a Green and Red Podcast (@PodcastGreenRed) production. Produced by Bob (@bobbuzzanco) and Scott (@sparki1969). Edited by Isaac.

Bernard Finch was a wealthy doctor who worked in the San Gabriel Valley in Southern California. In 1958, he began having an affair with his married receptionist Carole Tregoff. When Dr. Finch's wife was found dead, the two became the prime suspects.Join Mike and Gibby as they discuss Bernard Finch and Carole Tregoff. Finch was the type of man used to getting his way. He also had a habit of divorcing wives when he fell in love with a younger woman. But Barbara Finch was in a position to divorce Bernard and take a great deal of his assets. This is something that Bernard couldn't have, and he made a plan to do something about it.You can help support the show at patreon.com/truecrimeallthetimeVisit the show's website at truecrimeallthetime.com for contact, merchandise, and donation informationAn Emash Digital productionSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.