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

Send us a textThis is the fifth and final episode in a 5-part guest lecture series in GCM 806 Advanced Typography, speaking with design typography pros from across North America!This episode features Koy Sun, a seasoned Thai American artist, whose decade-long journey through the realms of custom lettering and illustration has recently expanded into the vibrant territories of sign painting and mural work. In this episode, you'll hear Koy talk about his introduction to letterforms and using the painted medium to craft his work today. Koy speaks to why he believes people are drawn to hand painted signs and you'll hear how and why sign painters think differently than traditional graphic designers. Finally, you'll hear how Koy stays creatively inspired and why he focuses on authenticity over the algorithm.I'm all about interesting projects with interesting people! Let's Connect on the web or via Instagram. :)

A Murfreesboro 20-something became a monk – for a bit. A temporary ordination is a rite of passage in Thailand, but it hasn't carried over to Thai communities in the U.S. That didn't stop this first-generation Thai American from taking part. Plus, a look at WPLN's religion stories throughout the years.  Credits:  This is a production of Nashville Public Radio  Host/producer: Rachel Iacovone Editor: Miriam Kramer Additional support: Mack Linebaugh, Nina Cardona, Tony Gonzalez, LaTonya Turner and the staff of WPLN and WNXP  

Dr. Kanjana Thepboriruk sits down with Dr. Pam Barger and Dr. James Cohen to talk about teaching English to speakers of other languages (TESOL) and massive open online courses (MOOCs) in Thailand. They discuss how MOOCs are capable of disrupting the way English is taught while providing universally accessible methods of language learning. Dr. Barger is a Thai American scholar and a professor of English language teaching at Wheaton College. She specializes in Comparative International Education.

Michael Chaturantabut (born April 30, 1975) is a Thai American actor, martial artist and stuntman, best known for his role as Chad Lee, the Blue Ranger in Power Rangers Lightspeed Rescue. He was born in Rayong Province, Thailand. Extreme martial art Xtreme Martial Arts or XMA is a brand name owned by Chaturantabut. Chaturantabut's XMA is a combination of elements from martial arts, acrobatics and gymnastics, with an emphasis on showmanship. The concept of adding gymnastics-like tumbling moves to elements of traditional martial arts is otherwise known as "tricking (martial arts)". XMA makes these exhibition moves the focus of the sport. Open hand and weapons choreography are often accompanied by dramatic dance or programmatic music. The goal is to command the attention of the audience. Currently there are schools of martial arts or similar XMA styles based in the United States, Australia, Canada, New Zealand and the United Kingdom, the World Headquarters being in North Hollywood, California. Many of the moves are high-flying aerial acrobatic maneuvers. These stunning movements attain the goal of capturing the crowd, improving physical agility, balance, strength, coordination, and endurance, as well as performing an artistic display of talent. He feels that there are many basic moves that can be specialized to be more acrobatic, flashy and artistic, so as to give the impression of complexity and difficulty for showmanship purposes. It is for this reason that he feels that even the basic athlete or beginner can learn the progression from basic moves to highly complex acrobatic sequences.

Tida Beattie (she/her) is a Thai-American end-of-life doula, grief support facilitator, and immigrant advocate. She creates radical spaces for immigrant families, their caregivers and their grievers to receive support addressing care, loss, death and grief. Tida knows the innate power within any immigrant family - perseverance, boldness, courage, resilience - and empowers them to be seen and heard so they advocate unapologetically for their needs and their human right to live and die with dignity, comfort, safety, and compassion.Find extensive show notes for this episode on our substack! If you haven't already, go ahead and subscribe to the podcast and sign up for our newsletter at www.wearemarigolde.com so you can be the first to know when new episodes drop.

Patchree Jones stars on this episode of Am I Write? Podcast to talk about the impact of the middle grade book genre and why she left the corporate world for it. Also discuss the pros of being an unagented, small press author and consider how you can build a marketable author brand naturally. ResourcesWebsite: patchreejones.comTwitter/X: https://x.com/PointsTangent?s=20BlueSky: @patchreejones.bsky.socialTikTok: https://www.tiktok.com/@patchreejones?is_from_webapp=1&sender_device=pcFacebook: https://www.facebook.com/patchreejonesInstagram: https://www.instagram.com/patchreejones/?hl=enDiscord: patchreejonesWriteHive for Indie AuthorsAbout PatchreePATCHREE JONES is Thai-American author and currently lives in Southern California with her husband, two children, and one lazy dog.As a girl, she grew up watching Thai dramas with her mom and dreamt of being a playwright as a teen. While life took her on a different path, her love of stories never faltered. It takes a fighter to share their vision with the world, and Patchree hopes to blaze the trail for all children to go after their dreams unapologetically.Her forthcoming middle-grade novel, SKYLIGHT, will be her debut work of fiction and is slated for publication on June 25, 2024 with Sorra Books.

In this episode, hosts Cinthia Varkevisser and Michelle Walters welcome Jessica, a Thai American acupuncturist. The discussion spans Jessica's personal journey, the importance of postnatal care, and her acupuncture practice specializing in fertility. A client success story illustrates the impact of acupuncture on infertility. They explore acupuncture's diversity, discuss endometriosis, and emphasize holistic healing. The conversation delves into Jessica's approach, incorporating sleep, diet, movement, and more. This insightful episode highlights the transformative power of acupuncture, offering a comprehensive view of holistic wellness, success stories, and diverse approaches within the field.Michelle Walters can be found at https://www.michellewalters.net/Cinthia Varkevisser can be found at https://www.cinthiavarkevisser.com/Jessida Kutpeaw can be found at https://riversofqi.com/

Today, I'm featuring Talat Market and chef Parnass Savang. He's the co-founder of Talat Market in Atlanta. As a first-generation Thai-American, he's learned to blend his cultural background in the form of unique and flavorful dishes that he describes as Georgian Thai.You'll hear about when he first fell in love with Thai food and how he began to find connections between his cultural roots and his southern upbringing. He talks about the balance between authenticity and creativity when it comes to representing a culture through its cuisine. He also shares some of his creative inspiration and a few of the dishes that represent his creative process. What you'll learn from Chef Parnass Savang at Talat Market The afterhours dishes his parents made in their restaurant 3:22His grandmother's signature Thai dish 4:13Developing his Georgian Thai style 6:17A unique Thai dish with Southern influence 9:39Chef Parnass Savang's sources of inspiration 11:47Looking to other cultures for menu ideas at Talat Market 13:13One of the most fascinating techniques in Thai cuisine 15:25Why you have to be careful fermenting meat 16:09The fun of doing collaborations in Talat Market 17:17One memorable collaboration with a BBQ pop-up 18:10The challenges of frequent menu changes 20:05Why he values his business partnership 21:16His thoughts on his first Talat Market pop-up experience 22:13How he knew he was at the end of what was possible 23:06Crowdfunding a restaurant 23:58His experience at culinary school 25:41Eating Thai food in New York 27:05Why he fell in love with Thai Food 27:48His dream come true stage experiences 28:18What he learned in Thai Kitchens 48:46His best flavor memory in Thailand 29:38Advice for aspiring chefs 31:43Remembering that this is a people business 32:29His most rewarding experience so far 33:13An exciting project in the works 34:44How his respect for the Thai culture shows up in his work 35:52Spots to eat in Atlanta 37:18His Guilty Pleasure Food 37:41Cookbooks that inspire him 38:08Pet peeves in the kitchen 38:29His favorite kitchen utensil 38:42Gadgets he can't live without 39:17Condiments he uses the most 39:49The chef he'd like to collaborate with the most 40:09His most challenging dish that was on the menu 40:32 I'd like to share a potential educational resource, "Conversations Behind the Kitchen Door", my new book that features dialogues with accomplished culinary leaders from various backgrounds and cultures. It delves into the future of culinary creativity and the hospitality industry, drawing from insights of a restaurant-industry-focused podcast, ‘flavors unknown”. It includes perspectives from renowned chefs and local professionals, making it a valuable resource for those interested in building a career in the culinary industry.Get the book here! Links to most downloaded episodes (click on any picture to listen to the episode) Chef Sheldon Simeon Chef Andy Doubrava Chef Chris Kajioka Chef Suzanne Goin Click to tweet It felt like a band pouring years of music into their debut album—that was my first food pop-up. But then, I hit a creative wall; I'd given it my all. Click To Tweet Every collaboration adds a new skill to my repertoire, spurring me to craft a unique dish under pressure—I can't let my collaborator or patrons down. Click To Tweet You're going to fail a lot. That's just the nature of cooking. You fail until you understand the technique or your station. Follow the chef's recipes, ask him questions, be clean, and organized. All that stuff is important. Click To Tweet Social media

Geeranan Chuersanga (Jeer-rah-nahn Choo-er-sahng-ah) , also known as Cartoon, is a Thai American, diversity, (health) equity and inclusion advocate as well as a self-taught artist based in Los Angeles, CA. Fun fact: Her nickname "Cartoon" was given by her parents since birth and derived from the popular cartoon character "Tweety" for her big eyes. Her full-time career and art endeavors were heavily influenced by her parents' experiences navigating their Thai cultural beliefs with the US healthcare system. As a result, she received her BA in Public Health Policy from the University of California, Irvine and her MS in Medical Anthropology and Cross-Cultural Practice at Boston University. Her interest in art and niche in capturing Thai elements led to the creation of @kwamsookxo on Instagram. With increased exposure of Asian American art and artists on various social media platforms, especially during the COVID-19 pandemic, she noticed a lack of Thai-American representation and switched gears to shift her art to educate about Thai culture and capture the experiences of the Thai diaspora community.

Parnass Savang is a first-generation Thai American who grew up in his parents' Thai restaurant in the Atlanta suburb of Lawrenceville. A Culinary Institute of America graduate, he came back to Atlanta to cook in some of the best kitchens in the city, including Kimball House, Staplehouse, and the now shuttered Empire State South. When he and fellow chef Rod Lassiter teamed up with dreams of a Thai restaurant, they tested menu items, built capital and a following by becoming one of the most exciting pop-ups in the city. In 2018 when they were still operating as that pop-up, Parnass was nominated as a James Beard Foundation Rising Star Chef, and Bon Appetit named Talat Market one of the best 50 eateries in America. The two launched a Kickstarter campaign, raised capital, and what resulted is the brick-and-mortar coming to life of a comfortable and vibrant neighborhood restaurant that melds Thai technique and local Georgia ingredients. Last year, the restaurant was awarded the Georgia Organics Farmer Champion, and Eater Atlanta named it one of the “22 Restaurants we keep returning to.” Talat Market is located in the Summerhill neighborhood of Atlanta, which is adjacent to Grant Park, a location I erroneously reference as their home neighborhood in this interview.

Amy is joined by Marissa Lila and Rachel Lam to discuss Buddhism After Patriarchy by Rita Gross and begin our exploration of patriarchy in East Asia. Rachel Lam is a professor of psychology and integrative medicine caregiver in Salt Lake City, Utah. She identifies as a biracial-female educator, healer, and advocate for social justice and mental health.Marissa Lila (she/they) is a Thai-American documentarian who grew up in Hong Kong and Thailand and is now based in Salt Lake City. As a multicultural filmmaker, she directs and produces projects with characters who cross boundaries set by dominant cultures or identities. Marissa's projects have been selected to play at international film festivals (DOC NYC, Camden, IFF, Big Sky Documentary FF, and MountainFilm). Two projects she produced, Transmormon and Oxygen to Fly, went viral with over 160 million total views. These projects were featured in The Huffington Post, New York Times, The Atlantic, People Magazine, and Dazed. Marissa is co-founder of OHO Media, a creative content agency for which Marissa creates documentaries and documentary-based branded content. Marissa directed, produced, and wrote for the docu-reality television series The Generations Project, for which one of the episodes she produced won a Regional Emmy. Marissa also spent six years creating educational content to increase equitable outcomes for students inclusive of race, ethnicity, language, cultural, sexual orientation, or ability.

I'm excited welcome back Kim Gamble, the Queen of Thai Cuisine, as seen on the Food Network's Beat Bobby Flay & Chopped. She was on The Grace Matrix™ Own You Journey-Episode 12: "The Power of Difference: A Story of Entrepreneurial Success Stemming from a Unique Upbringing", Where she shared with us her experience being on Beat Bobby Flay, the Food Network's Cooking competition with Bobby Flay,  If you all missed it, feel free to go back and take a listen, it's truly inspiring. Today she's back to give us an update on what she's been up to since she decided to not let her fears get in the way; including being back on the Food Network Channel's, Chopped.  Listen in as she takes us behind the scenes of her journey and find out what keeps her going.    Topics Discussed Behind the scenes on The Food Network Channel,  Chopped How pushing beyond her comfort zone transformed her to a a version of herself that loves to try new things and put herself out there more.  How she struggled with her confidence due to fear of failure.  What motivates her.  How she sees her success as a group effort.  About Kimberly Gamble: Kim Gamble; Thai- American, entrepreneur, chef, and the owner and founder of Lucky Bird CA and Lanna Thai Restaurant.  Connect with Kim: website: http://www.lannathailivermore.com/ Instagram: https://instagram.com/chefkimberly.s.gamble Ready to Redefine Your Happiness? View it here: https://youtu.be/r0A2FXwyAsw Own Your Journey! In our fast-paced world, many of us struggle with overthinking and worry which leaves us feeling overwhelmed or stuck. Hi! I'm Maria Grace Wolk. I'm a Filipina American entrepreneur, Psychotherapist, wife, and mom of two boys; My mission is to amplify diverse perspectives, break the mental health stigma, and inspire you to own your journey to a mind, body, and energy wellness and fulfillment. https://youtu.be/qM2grjLTzPE

In this encore installment of Silicon Valley Insider, Keith Koo hosts an interview with Chatri Sidyodtong, Founder and CEO of ONE Championship, a global media platform headquartered in Singapore and the star of “The Apprentice ONE Championship Edition.” As a 5-year old boy, Chatri's mother told him “you will go help people” and that was something hard to fathom when he and his family were broke as he entered life at university. Hear Chatri tell his story of inspiration and hope. From rags to riches is a familiar story but ensuring humility along the way makes Chatri a superhero. Key Takeaways: Chatri's mother's words of wisdom instilled in him a strong sense of purpose and determination. Chatri's journey from poverty to success is a testament to the power of hard work and perseverance. Chatri is a true inspiration to us all, and his story is a reminder that anything is possible if you set your mind to it.   More about Chatri Sidyodtong Chatri Sityodtong is a Thai-American entrepreneur, martial artist, and the founder, chairman, and CEO of ONE Championship, a global sports media platform headquartered in Singapore. In 1994, he graduated from Tufts University with a degree in economics. He then earned an MBA from Harvard Business School in 1999. After graduating from Harvard, Sityodtong moved to Singapore and founded Evolve MMA in 2009. The academy quickly became one of the leading martial arts schools in the world, and Sityodtong was named one of the "Top 100 Most Influential People in Martial Arts" by Black Belt Magazine in 2013. In 2011, Sityodtong founded ONE Championship with the goal of uniting the world's martial arts under one banner. ONE Championship is now the largest global sports media platform in Asia, with a worldwide broadcast to over 170 countries. The organization has produced some of the biggest and most exciting fights in the history of martial arts, and Sityodtong has been praised for his vision and leadership. Sityodtong is a passionate advocate for martial arts and its positive impact on society. He believes that martial arts can teach people discipline, respect, and self-confidence. He is also a strong supporter of global poverty alleviation and has donated millions of dollars to charity. In 2022, Sityodtong was the host of The Apprentice Asia edition, a reality TV show in which 16 candidates competed for a job as his protégé at ONE Championship. The show was a huge success, and Sityodtong was praised for his charisma and leadership. Sityodtong is a true pioneer in the world of martial arts. He has helped to make martial arts more accessible and popular than ever before, and he has inspired millions of people around the world to pursue their dreams.   Subscribe and Download to “Silicon Valley Insider” to find out more: https://www.svin.biz/ Listen  860AM KTRB Silicon Valley | San Francisco Listen 1220AM KDOW Silicon Valley | San Francisco Listen and subscribe to the "Silicon Valley Insider" Podcast ahead of time to make sure you don't miss this show. For questions or comments, email: info@svin.biz

Host Jo Reed and AudioFile's Emily Connelly talk about the fun of listening to Christina Soontornvat's middle-grade graphic memoir translated into audio. Grace Li leads the narration as young Christina, a seventh grader navigating a particularly intense cheerleading tryout—plus a lot of middle-school drama. Christina was the only Thai American kid in her small town Texas school, and she faced microaggressions and outright racism. Sounds of ringing school bells and squeaking sneakers join the full cast to dramatize the story, full of joyful giggles, frustration, and determination. The audiobook's gracefully expanded narration ensures an immersive standalone listening experience. Gimme a W . . . for WINNER! Read the full review of the audiobook on AudioFile's website. Published by Scholastic Audiobooks. Find more audiobook recommendations at audiofilemagazine.com Support for our podcast comes from Brilliance Audio's I Will Find You. Five years ago, David went to prison for murdering his son. But when a mysterious photo reveals that the boy might still be alive, he plans a harrowing escape to achieve the impossible. Can David save his son, prove his innocence, and finally uncover the dark truth about that devastating night? Listen to the new audiobook thriller from #1 New York Times bestselling author Harlan Coben and read by Steven Weber. Learn more at Audible.com/IWillFindYou Learn more about your ad choices. Visit megaphone.fm/adchoices

They're splashy, they're unpredictable, and unless you've been living under a rock, you've probably heard of them (no offense to rock-dwellers, we respect the lifestyle). In this episode Candace and Ariel are talking to comic and TV writer Pornsak Pichetshote about a potential cultural reset in horror oddballs Malignant (2021), and Barbarian (2022). Pornsak Pichetshote is a Thai-American writer of comics and TV. You can find the first issue of his new comic, Dead Boy Detectives, here: https://www.dc.com/comics/the-sandman-universe-dead-boy-detectives-2022/the-sandman-universe-dead-boy-detectives-1 A proud part of the Morbidly Beautiful Podcast Network. Our drive for intersectionality aligns well with the Morbidly Beautiful ethos. We love that MB is a nonprofit that gives back to the horror community, and are thrilled to be a part of the network! Show now also streaming on morbidlybeautiful.com! Movies Discussed: Malignant (2021), Barbarian (2022) Links: IG- instagram.com/nyfgpod Twitter- twitter.com/nyfgpod FB- facebook.com/nyfgpodcast/ Pod merch- https://society6.com/nyfgpod I am Not Your Final Girl by Claire C. Holland- https://www.amazon.com/Am-Not-Your-Final-Girl/dp/0692966633 Bandcamp- arieldyer.bandcamp.com Show art by Brian Demarest: instagram.com/evilflynn

When Tida Beattie's Thai immigrant parents died in 2019, she went from being a long-distance caregiver to an overwhelmed & grieving daughter. In her search for support, she found what so many do, a lack of culturally specific or informed resources. This experience motivated her to change this for others by creating spaces for immigrant families to receive support before and after a death. Tida is a Thai-American end-of-life doula, grief support facilitator, immigrant advocate, and co-founder of MESO, dedicated to supporting caregivers and those in grief with compassion and a cultural lens.  In this episode, we discuss: Growing up as a Thai-American and her family's experience of cultural bereavement. How her parents' immigrant experience informed their approach to end-of-life. What it was like to be a long-distance caregiver. Tida's search for culturally relevant grief support. The importance of acknowledging cultural bereavement. The goal and mission of MESO. Learning to hold both joy & grief.

Charles Kay Jr. is a first-generation Thai-American visual artist whose work explores assimilation, identity and the American Dream. Kay's parents immigrated from Thailand in the 1960s and anglicized their names to fit in. Much of Kay's work explores the toll of assimilation on his own family and the immigrant experience at large. His exhibition “Unseen: Emerging from the Currents of Assimilation” is on display at Kaneko through February 5, 2023. In this conversation with Maria Corpuz, he shares his experience growing up in Omaha with immigrant parents, the racism he and his family have endured, and his changing relationship with his Asian-American identity. Learn more about "Unseen" here. --- Send in a voice message: https://anchor.fm/riversidechats/message Support this podcast: https://anchor.fm/riversidechats/support

Sarinya Srisakul, a Thai-American firefighter who is also New York's first Asian American female firefighter, joins Proudly Asian to talk about the craziest moments in her firefighting career, and how she keeps AAPI womxn in New York safe with the community group that she founded - Angry Asian Womxn. Follow Angry Asian Womxn on Instagram: https://instagram.com/angryasianwomxn ------------------------------------------------------- Stay Connected with Proudly Asian: Website - https://proudly-asian.com Instagram - https://instagram.com/proudly.asian Youtube - https://www.youtube.com/channel/UCtBzoAJQGbEB_K9Se8AlYlQ Send us a voice message - https://anchor.fm/proudlyasian/message Support us - https://www.buymeacoffee.com/proudlyasian Email us - proudlyasianpodcast@gmail.com

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Tonight on APEX Express Host Miko Lee interviews Cathy Ceniza Choy author of Asian American Histories of the United States. Show Transcripts [00:00:00] Opening: Asian Pacific expression. Unity and cultural coverage, music and calendar revisions influences Asian Pacific Islander. It's time to get on board. The Apex Express. Good evening. You're tuned in to Apex Express. [00:00:18] Jalena Keane-Lee: We're bringing you an Asian American Pacific Islander view from the Bay and around the world. [00:00:22] Miko Lee: This is Miko Lee. And in August, I had the wonderful opportunity of hosting a live event. One of the first live events. That KPFA was offering at the back room in Berkeley. And it was an interview with Catherine Cinzia Choi on her new book Asian-American histories of the United States. So take a listen to the interview. You're going to hear some clapping and some noise because it was a live audience. we hope you enjoy it and find out more information at our website kpfa.org. take a listen welcome to KPFAS live virtual event. I'm Miko Lee from apex expressed in your host for tonight. A big round of applause to our producers of K PFA events that are here. Kevin Hunt, Sanger, and Brandy Howell in the back of the room. Wow, it's so great to be in front of a live audience. Thank you to Sam Rudin and the back room. This amazing glorious space for hosting us this live evening. Okay. Y'all we're coming back. We're coming out. We're still pandemic land. People are in their beautiful masks, but we're coming back and KPFA has a few more upcoming events. I wanna do a land acknowledgement, and I want to acknowledge that K P F a is located on unseated, Cho Chino speaking, Lonni land known as the Huk, as journalists and community members. We have the responsibility to engage critically with the legacy of colonists. Colonialist violence and to uplift the active and ongoing indigenous struggles connected to the land that we are gathered on tonight. If you wanna check out more, go to native land dot California, and if you live in the east bay, I'm asking, do you pay the Shmi land tax, which is led by indigenous women, find out more about Ante's work of reation and returning in indigenous lands to the people establishing a cemetery to reinter stolen alone, ancestral remains and building urban gardens, community centers and ceremonial spaces. So current and future generations of indigenous people can thrive in the bay area. Thank you so much for joining us. We are honored tonight to welcome author Cathy Cenzia Choy. Cathy is currently a professor of ethnic studies at our own UC Berkeley, and she has published multiple books around Asian American identity. And is here tonight to chat with us about her latest book, Asian American histories of the United States. Welcome Cathy. Yes. Thank you. Okay. I'm gonna do anode to the great poet Chinaka Hodges, and ask, who are your people and where do you come from? [00:03:19] Cathy Cenzia Choy: I am the daughter of Filipino immigrants born and raised in New York city. I've been in Berkeley since 2004, and UC Berkeley has been a very important institution and community for me. And it's just such an honor to be. Your presence today and tonight I wanna thank you Miko for taking the time to, to host this. I wanna acknowledge my family and friends who are in the audience, my husband and my daughter are here. And I'm so pleased about that. And I feel like I'm with my people right now. [00:04:03] Miko Lee: what are the legacies that you carry with you from your ancestors? [00:04:11] Cathy Cenzia Choy: Wow. These are really Deep questions. I know. I feel like I care, even though sometimes I'm not aware. All the details. I feel like I carry the histories of my ancestors, even though, as I write in the book. So many of us in including myself didn't grow up knowing much about Asian American history because it wasn't taught to us in our schools. And even with that I feel my ancestors' presence with me. And I especially thank my mother Petri, za and other family members for also making that presence alive in so many ways while I was growing [00:04:57] Miko Lee: up in New York city. And are there certain elements that you carry with you on the daily? [00:05:05] Cathy Cenzia Choy: I don't know. In terms of the daily, because now I'm at this point in my life where I've had many experiences and I. Learned more to own my voice. And I feel owning that voice like through speaking and through writing is something I've learned and carried from them. But it took me also some time to, to get to this point. And even though I've talked to so many people in public spaces I always feel still some, some. nerves every time. [00:05:50] Miko Lee: So maybe it's self-expression and passing on the torch to the next generation around storytelling, around [00:05:56] Cathy Cenzia Choy: teaching. Absolutely. I think one of the things that I try to impart in, in my teaching at UC Berkeley at university of Minnesota twin cities, where I had taught for six years prior to coming to Berkeley, I try to impart that, that lesson of learning to, to cultivate your confidence and to own your voice. [00:06:19] Miko Lee: Your book is such an interesting collection because you're talking about some deep Asian American history stories, and then you're intertwining it with your own personal stories. And I wonder if you could speak a little bit more about your personal family story and your her story and how that intertwines with Asian American, her story. [00:06:39] Cathy Cenzia Choy: One of the things that is different from in terms of this book compared to my previous two books, is that it was intended for a very broad audience. And given what Asian Americans have been going through in this country since 2020 in many ways it was also born out of some very difficult, challenging circumstances. And I've experienced like many Asian Americans have experienced since 2020, a level of fear and anxiety and grief, at what has been happening with the surgeon anti-Asian violence, its relation to coronavirus related anti-Asian racism and. all of this has infused a different approach to writing in this book. And I write in the first person, the second person in one chapter on, on world war II. And I write in the more traditional third person which is typical and scholarly history books. So when I write in the first person, I share personal experiences that are intertwined to these histories. And this includes some of the fear and anxiety I was already mentioning. And that concern about the surge in anti-Asian violence and that when I see those stories on the media I see my family members, I see my elders and. in the book. I talk about how I've talked to my children and I realize that they see me. And so that's one personal experience, but my husband is. And his family's history is also on the, in the book. There's one chapter titled 19, 19 declaration of independence and 1919, that declaration of independence is referring to the declaration of. Korean independence, both in Korea against Japanese imperialism but also a Korean Congress that came to Philadelphia in April 19, 19. And my husband's parents on his father's side were among those Korean independence activists in the early 20th century. And I share experiences also how we've tried to pass on Asian American history to our children. And I talk about a moment where we brought our son to the Japanese American Memorial garden in tan Farran, which is now a shopping mall, but used to be a horse racing track and then was converted into an assembly center or what they would call a relocation center which forcibly relocated Japanese Americans here in, in the bay area there before. Forcibly incarcerating them in internment camps during world Wari. So there's quite a bit of my history, my family's history in this, even though the, of, it's not the, all of the histories that I talked about, you're [00:09:50] Miko Lee: telling part of your family stories, but then you're also telling a bunch of personal stories, small stories of people to help really illuminate a moment in history. And I'm wondering how you went about the process of selecting those individual stories to help shed light on a bigger [00:10:03] Cathy Cenzia Choy: issue. Yeah that's a great question. I think that's one of the challenges with history, which has story in it history and is about communicating stories and the choices we make matter. So I chose stories that I felt reflected key moments events, groups in Asian American histories over the past almost 200 years. And the idea also was that in selecting these stories, many of which came from research, I had done in the past and also my teaching. But I also wanted to create this feeling in the book of engaging and inviting readers to think about what stories would they want to include and not to cut it off and say, these are the stories we need to know, but rather these are the stories of. People's families and communities. And what are the stories of your families and communities? [00:11:09] Miko Lee: So in a way, it's an invitation for the readers and the audience members to look at your personal stories and how they intertwine with Asian American [00:11:17] Cathy Cenzia Choy: history. Yes. I hope that one of my hopes is that the book is as accessible as possible and that it is shared across an incredibly diverse audience. Also multi-generational and it would mean a great deal to me, for people to share the histories in this book with their elders and people of their generation and younger generations. [00:11:44] Miko Lee: And speaking of stories and connections, one of the biggest connections of a API community is around our food. people. It doesn't matter where you are, people know about Asian food and Asian Pacific Islander food. And you have a whole section in your book that is an interlude around food. And I'm wondering if you can just read the bolded sections of the interlude to the audience as a teaser, and then we'll talk about it some [00:12:08] Cathy Cenzia Choy: more. Okay. Yes. I'd love that. Okay. We, [00:12:13] Miko Lee: so for those of you that haven't read the book, , here's a little bit of a teaser of what the book has to offer Yes. And just the fact there, there's an interlude in the book. Which is also do you wanna talk about that now or after you pretty different? [00:12:19] Cathy Cenzia Choy:  It's just it was, getting at a point that I had made earlier about how I wanted to write differently. I also felt compelled to write differently. And there's an interlude in the book and it's entitled 1965 reprise the faces behind the food. And I'm going to read an abridged version because this way of reading, it makes it like a shout out poem.yeah. So 1965 reprise the faces behind the food. This is for the Asian American faces behind the food that nourishes Americans and enriches American cuisine. The general public knows. So little about Asian American people, but our food is everywhere at one's exotic and mainstream. This is for Larry. I Italy on the Filipino American farm workers who started the grape strike in Delano, California in 1965. This is for Dawn Baan and those who champion labor history. This is for the over 300,000 Asian migrants, Chinese, Japanese, Korean, and Filipino, whose labor made sugar production, Hawaii top industry. This is for the Chinese workers who transformed tens of thousands of acres of California, swamp land into airable land, and who applied their ingenuity to orchards from Oregon to Florida. This is for the Chinese, Japanese and Filipino workers in the canned salmon industry of the Pacific Northwest. This is for the Japanese fruit and vegetable farmers. This is for the Asian, Indian, agricultural workers. Many of whom found work in California's fields in the early century. This is for the restaurant workers like chinch wing, who started working at an Americanized Chinese restaurant in 1936 in New York city. This is for the food service workers in cafeteria. This is for the writer and migrant worker, Carlos bloon. This is for de leaping sound who in 1956 became the first person of Asian descent elected to serve as a us representative and champion the farmers of his Southern California district. This is for Thai American. Who have a complicated relationship with Thai food because they are often conflated with it. This is for the monos. Mono is a term that conveys respect for Filipino elders in the 1920s and 1930s, they followed the crops from California to the Pacific Northwest. The Mons demonstrated their militancy. The 1965 grape strike was not an exception, but rather a singular point on a continuum. In the age of COVID 19 Asian Americans continued to be the many faces behind the food, using their creativity and leadership to promote communal care during a critical time. This is for Hannah DRA, a self-identified Pakistani American Muslim, and the co-founder of transformation. A technology platform that redistributes leftover, prepared food from restaurants and companies to places that need them like homeless shelters. This is for heart of dinner, whose mission is to nourish New York, city's Asian elders with love and food every week, the irony of Asian Americans producing America's food and enlivening, the overall food experience and the context of hate and violence has not been lost on them historically. And in the present day in March, 2021, people gathered at North Dakota state university in Fargo to protest against anti-Asian hatred. One poster red love us. Like you love our food. [00:16:51] Miko Lee: Thank you so much. Yes. Can make some noise. That's good. And if I may add, this is for. Adding all of your stories so that our Asian American history and tapestry can become richer and deeper. Thank you so much, Kathy, for sharing that. Now talk about why you wanted a kind of musical interlude in the middle of the book. [00:17:15] Cathy Cenzia Choy: It had to do with the histories the multiplicity that I emphasize in the book that there are multiple origins of Asian American history. And we should refer to these as Asian American histories, because my approach in the book is less about a linear, a traditional linear approach which can sometimes suggest causality or. Progress all the time and rather than take a linear approach. One of the things that's distinctive about the book is that the first substantive chapter begins with the year 2020. And the book concludes with 1869 and then each of the chapters. So it goes back in time and each of the chapters moves forward and back in time. So one of the chapters is titled 1965. And it's about the faces of post 1965 Asian America. And it's referring to the immigration and nationality act of 1965, which dramatically changed the democratic the demographics of our country. And. Yet, it was difficult to weave in seamlessly the story of Larry Italy and the Filipino farm workers and how important that grape strike was in, in Delano, California. And I thought to myself I don't ne I, I don't wanna put a, another chapter entitled 1965. So I'm gonna do, I'm gonna do this interlude and then, and write in a different way to give people a break from the style and then encourage you to give shout outs of your own. [00:18:57] Miko Lee: Thank you. Speaking of Larry Iley who in a bunch of your book, you talk about erasure or as Helen Z talks about missing in history. What are those moments that are MIH? And Larry I. Long is one of those many stories we always hear about Cezar Chavez and the great boycott when it was actually a Filipino man, Larry Ile that you write about. And I'm wondering after doing this exhaustive research for your book and as a professor, what are some kind of key missing in history moments? Do you think stand out in Asian American Pacific Islander history? [00:19:30] Cathy Cenzia Choy: There are key moments in every chapter in this book. In the first chapter on, on 2020 I talk about the disproportionate toll of COVID 19 on Filipino nurses in this country. And so one of the things that's MIH, which I've tried to address in my own research and was the topic of my first book was why and how the Philippines became the world's leading sending country of professional nurses and a specifically to, to the United States. And so in, in every chapter, the chapter after 2020 is one on 1975, and it's about Southeast Asian Americans and the refugee experience, but also the descendants of refugees in Southeast Asian immigrants. And so much of their stories are MIH because we are familiar with the Vietnam war, but often from the American perspective. And we, the. Participation of and Laosian Americans were part of a secret army and a secret war. So there's so many instances of that in every single chapter where this I, ideas of erasure secrecy being overlooked like Larry Ile who worked closely with Suor Chavez for years, they were director and assistant director of the U F w but many of us yes, know that story. [00:20:58] Miko Lee: I'm wondering if you could talk a little bit about the great former photojournalist quirky Lee and his impact, because I think one of those things about missing a history are those that have stood up to try and tell that story again, and you profile quirky. Can you tell a little bit the audience about Corky Lee and what he did. [00:21:14] Cathy Cenzia Choy: Yeah, well, thanks for giving me the opportunity Corky Lee was one of the most important, I think photo journalists of the late 20th and early 21st century and is such a pioneer in Asian American journalism. And he is just one of the over 1 million people we have lost in the United States as a result of COVID 19. And I wanted to honor his memory in the book. He was well known for taking a photograph of a sick American after nine 11 and so many sick Americans in our country after nine 11 were targeted for anti-Asian violence, they were conflated with the stereotypical image of what a terrorist might, might look like in our country. And so we took this photograph of a sick man wearing a red turban with the United States flag draped around his shoulders. And the other thing he's also very well known for is something that is a major theme in this book, which is the theme of erasure of Asian American history and experience in the overall us experience and that era. one of the key moments is in 1869 with the completion of the building of the first transcontinental railroad, which took place at a Ary summit in Utah. And this is a very important moment in, in the history of our nation as a symbol of our modern progress that, enabled us expansionism across the continent. And eventually also into the Hawaiian islands and Asia and Chinese workers at were. About 90% of the labor force of the central Pacific here in the Western region of building [00:23:17] Miko Lee: my family that railroad. Yes. Yeah. My ancestors built that railroad. [00:23:21] Cathy Cenzia Choy: Yes. I re we talked about that briefly and there might be other descendants here too of the railroad workers. And when they finally met at Promentory summit, there was a celebratory photo it's quite known and there was not a single Chinese worker in this photo. Not a single Chinese worker and quirky Lee. When he was in grade school, he remembered, learning about Chinese participation in the building of this railroad. And so he looked at that photo and he noticed that absence and erasure. And so I believe it was the hundred and 45th anniversary of the building of. that railroad. And he rest staged that iconic photograph. And this time he included the descendants of the Chinese railroad workers and other Asian Americans. And it was a joyous moment. And he referred to these moments, photographic justice. [00:24:24] Miko Lee: I love that whole even ethos of photographic justice. And you wrote in your book that was a 2014, that's so recent that this has happened. It's just this and also one person. And it also shows the power. Hello, ethnic studies, professors in the house, the power that he, this one, man heard this story and said, why isn't this being told, right? [00:24:46] Cathy Cenzia Choy: Yes. And that's the, one of my hopes for the book is you'll notice that in, throughout the book in the various chapters, I oppose these questions. No questions for us to think about. It's not solely about here's the experience and here are the dates and the years and the events, but it's the way we all participate in history, but by what we choose to remember to reflect upon and how we use that historical knowledge to, to move forward, [00:25:20] Miko Lee: next up listen to girl gang by Rubia barra That was girl gang by the amazing Ruby Abara. [00:27:26] Miko Lee: You are tuned into apex express on 94.1 K PFA and 89.3 K P F B. Now let's get back to my interview with author Kathleen. Cinzia joy. [00:27:41] Miko Lee: Keeping on with this conversation about erasure and representation, you quote this study by Nancy Angwin, who is amazing. That is it really recent last year, 2021 study that says 40% of films have no zero Asian American Pacific Islander representation and of the films that do have representation over 25% of the characters die, violent. talk to us a little bit more about what does that say? How is that connected to erasure? What does that mean to the broader multicultural universe? What does it say about Asian Americans? [00:28:19] Cathy Cenzia Choy: In that chapter I'm gonna paraphrase since I'm not directly reading from it, but in that chapter, I reflect on that study and those statistics. And one of the things that if you wanna look directly at that study because in the notes, there's the URL to it. You, you will read that those statistics are juxtaposed with statistics about anti-Asian violence in 20, 20 and 2021. And I posed the question in that chapter. Are you, are we human? If we're not portrayed in a dignified and humane way. in popular culture. And if the only representations or the major representations of you are as, one dimensional flat stereotypes. And if it gets to the point where you're so used to the narrative on screen, that you can expect that Asian or Asian American character to die and not make it, what does that do to our psyche and how we view real world Asian Americans. So I didn't share this in the book, but when my children were younger, I actually had this experience. We, we brought them to this action film and this Asian American character was on screen. and I remember putting my head down thinking, oh I really hope this character doesn't die. and I turned to my son who was quite young at the time, and I tried to like, prepare him for that. And then the character did die in, in, in the film. So it's that feeling of why are we seeing such similar stories over and over again? And how can we begin to change that narrative? [00:30:14] Miko Lee: Connected to that and connected to your earlier book about Filipino nurses. One of my pet peeves, I love watching doctor shows as just totally fluff. And one of my pet peeve is that there are never enough Asian doctors and I am in the bay area. Every single one of my doctors is Asian. So I've always been like, this is such I don't understand. And especially with how many Filipinos are in the medical profession. So can you expand a little bit more of that and bringing in your last book, which is empire of care, nursing and migration and Filipino American history? [00:30:50] Cathy Cenzia Choy: Yes, I oh the present the past present and future of American nursing is inextricably linked to the presence of Filipino American nurses in this country. And Filipino American nurses have been in the United States for six. Decades. Many of them are immigrants, so they were born and raised in the Philippines, but the United States has been their home and they have made this incredible contribution to us healthcare delivery. And California we are one of the beneficiaries of their labor they're in hospitals, they're in elder care. And in the book I mentioned the Emmys, I forgot what year that was, but one of the co-host Michael Shay actually, said can you believe, Hollywood is a diversity problem and can you believe they did 15 seasons of ER without one single Filipino nurse? And have you been to a hospital in this country? And I feel also that frustration and that irony and it's, I have to say it's. It was especially painful since 2020 because Filipino nurses and other Asian American healthcare workers were also among the targets of anti-Asian violence. And hate in this country, even while they were wearing medical scrubs. For example, there was testimony given and there's one hospitalist in, in New York who I I quote in, in the book who, who talked about this paradox that here they are contributing to the health of our nation and putting their lives on the line yes. Through exposure and dealing with this hate and violence. And he said, it's really challenging being. celebrated and villainized at the same time. And that's the problem when so much of our common understanding or what we think is an understanding of Asian Americans is based on stereotypes. Because stereotypes are flat. They're one dimensional. They dehumanize even the most seemingly positive ones. [00:33:13] Miko Lee: Okay. I wanna talk about a different topic, which is in 1997, time magazine released this cover and on the cover where all these cute Asians, and it said the model minority. And I remember being in school and my teacher bringing that in and showing that magazine cover the class and pointing to me and I just had this like visceral gut reaction to it. Can you talk about how the model minority, the whole ethos of model minority has been used as a tool for white SuPM. [00:33:49] Cathy Cenzia Choy: I, I appreciate you phrasing the question that way. The model minority stereotype, which is a myth is such a complex stereotype. And some people might say, the model minority is about Asian Americans being smart and economically successful. And what's wrong with that? Isn't that positive? Isn't that the best kind of branding any group or could ask for. And it is a tool of divide and conquer. It is a tool of white supremacy which is, I think the way I understand. You're phrasing of the question because it too has a history. And part of that history is emerging in the late 1960s during civil rights and other, social movement protests, and having media stories quoting academics as experts contrasting Asian Americans as successful model minorities who don't complain. Don't ask for government help pull themselves up by their bootstraps in contrast to black Americans. And it was really direct like that now in, in contrast to African Americans who are protesting and demanding justice and change from the government this is a. Strategy of divide and conquer and prevent us from seeing. So in some ways it's another form of erasure that I talk about in the book that there's this longer history of Asian American and black solidarity and friendship living in neighborhoods together, working together in organizing [00:35:39] Miko Lee: together, [00:35:39] Cathy Cenzia Choy: organizing together work, interracial relationships and families. And we're [00:35:45] Miko Lee: talking about you, Grace Lee [00:35:46] Cathy Cenzia Choy: Boggs yes, I right. Grace Gracely BOS is certainly, part of that, one of many right. One, one of many who was married to James Boggs, a a black auto worker and author and activist. And they were married for a long time and together created. Summer which was this community, youth based organization and out of that love and marriage and mutual activism created something which is relating to another main theme in the book of resistance. It's like that creative spark like Detroit summer to create community gardens and to paint murals and to have intergenerational dialogues and to move forward in, in the most hopeful and an inclusive. Possible. And that's just one example. [00:36:42] Miko Lee: Yeah. I appreciate how in the book you're talking about erasure, you're having resistance stories, and then you did bring up talking about mixed race and global adoption. And I know your former book was around global families. So I am you share some really lovely tidbits in there, like about Punjabi Mexican communities that I think maybe folks don't know about, or maybe folks in the bay area went to go see the amazing Bonura ballet folk, Loco production that told that whole story in dance that Joti sing and Zenon Beon did. But you also talk about Kip full books' book about Hopper's mixed race folks. So do you feel that and your own kids are mixed race? My own kids are also mixed race different Asian ethnicities together. I'm wondering. Okay, sorry, this is a long question, but I'm thinking back to years ago, the amazing performer David photo Moto did a production where he came out, dressed in Scottish. It came out, dressed in entire Kabuki outfit with a kimono and a face, and he did a whole entire Kabuki dance and then picked up his bagpipe and played a Scottish bagpipe. And it was such a great combo of his two cultures that he meshed together and that he was sharing about himself with the audience. So with that being said, and with your both personal family story, and you're having written this book, what is your take on cross racial adoption and mixed race folks being a bridge to the future? [00:38:17] Cathy Cenzia Choy: well, so it's an interesting way of saying that because I think in that chapter, which is titled 1953 mixed race lives I don't necess, I do say they're about our future because our future is multiracial. And we know that since the 2000 census and in the most recent 20, 20 census we know that an exponential number. The largest growing group are of people who I identify as more than one racial category. But one of the key things I key points that I make in that chapter is that being a mixed race and multiracial is not solely about our future, but it's also about our past and our present. and we have a multiracial past. And that includes some key examples in the, in that chapter are early 19th century Chinese and Irish marriages and in New York city and east Bengali Puerto Rican, African American, west Indian families and communities in Harlem and Filipino and Irish multiple generational families in new Orleans. And you had mentioned, P Punjabi Mexican Americans from Texas to California and MES Filipino, Mexican family is especially in Southern California. That is just as much about our past and our present as, as well as our future and the adoptees also figure in, in, in that chapter and 1953 each year serves as a touchstone for going back and forth in time. 1953 is referring to the end of the Korean war and how foundational the international adoption, especially by American families of mixed race Korean and American children, born of us servicemen and Korean women. How important that group was in terms of transforming the United States into an international adoption nation to. Which, which leads the world in terms of internationally adopting children. And even though Russia, Guatemala Romania, Ukraine are also major sending countries of adoptive children to the United States. Most of those adoptive children are from Asian countries and Korea plays an important role in that history, but so does Japan and Vietnam as, as well. And they're an important part of Asian American history that I also think tends to be marginalized in our understanding of the Asian American experience. [00:41:09] Miko Lee: Okay. My last questions before we open it up to our lovely audiences, juicy questions is what would you like readers to walk away with after reading your book? [00:41:20] Cathy Cenzia Choy: I would love for readers to walk away with a more. nuanced and deeper understanding of Asian American histories and to reflect upon how relevant that is for this moment. This is a moment when so many of us are confronting so many different existential crises from climate to economic insecurity, but since 2020 for Asian Americans, this this dual crises of the pandemic and the surge in anti-Asian hate has really made an impact on so many of us and our communities. And I believe that understanding Asian American histories, understanding them as multidimensional human beings, who are part of the American experience Is one important step to, to reduce and end this violence. Thank [00:42:24] Miko Lee: you. Okay. We're passing out cards. Do we have, oh, we have some collected. Rolling. Does anybody have any questions? Does anybody have any questions? Oh, wow. [00:42:34] Cathy Cenzia Choy: Yeah, jump in the [00:42:35] Miko Lee: card. Okay. I read this. Can you talk a little bit about medical scapegoating, which you mentioned in your book? [00:42:44] Cathy Cenzia Choy: Yes. One of the things that we are observing since 2020, and since COVID 19 has become a pandemic, is that medical scapegoating of Asian Americans. And in the book, I talk about how there's a long history of anti-Asian medical scapegoating that is as old as the oldest migration. Oldest mass migration of Asians to, to the United States. And in the second half of the 19th century Chinese and by extension Chinese American bodies were blamed for smallpox outbreaks. Japanese immigrants were blamed for typhoid. South migrants were associated with hookworm. And what this does is that it scapegoats people, it dehumanizes them and makes them targets for egregious forms of violence. And that what we are experiencing today is not new. And this relates to that point about kind of one of my hopes for the book is that learning and engaging about these histories is really important. To end this medical scapegoating and the violence that accompanies it. [00:44:02] Miko Lee: I think people don't even realize that China towns were burned down during those times, too. [00:44:07] Cathy Cenzia Choy: Yes, I in addition to erasure and resistance violence is a third major theme, of the book and violence means many different things. We, in the media, it often focuses on the most egregious forms of violence like mass shooting. But the anti-Asian hate incidents and violence have ranged from bullying and harassment in schools, spitting on Asian Americans name calling I'm telling Asian Americans to go back to where they, they came from and you were referring to arson and burning down of Chinatowns and , this was something here in California and in, in the Pacific Northwest the method of anti-Asian violence was all often in the form of expulsion of Chinese from their communities through arson shooting stoning threats, [00:45:04] Miko Lee: right. You talked a little bit in the beginning, and this is an audience question. You talked a little bit in the beginning about the order of the book and we had you read the interlude and you said that it was done in a different order, starting with, 20, 20. Can you talk a little bit more about your thought process in creating the book in this kind of non-linear time structure? [00:45:24] Cathy Cenzia Choy: In the preface I write and also in the acknowledgements I give thanks to my students over so many years at university of Minnesota UC Berkeley especially but also other institutions that earlier in, in my career, I've learned so much from my students, from listening to them from engaging in dialogue about what we're reading. And in spring of 2021, I taught this class on Asian American history in the age of COVID 19. And some of the students were telling me that they really appreciated having taken previous courses in Asian American history, but how sometimes the courses they would go in that linear approach and then primarily end. Maybe in like the 1980s or maybe the, the glass class would be here, are these contemporary issues now related to all the things that we've talked about. And they were just voicing, some concern about how is history relevant today. And so I played with the chronology using a non-linear approach to make this point that Asian American history is relevant. Now, it's relevant in 2020, it's relevant in 1975. It's relevant in 1953. It's relevant in 1869. And it's relevant right now. And we're all we're all a part [00:46:59] Miko Lee: of it. So I'm gonna combine a few questions here. And this one is really about the different waves of Asian American immigration and how those impacted the storytelling. And I think. The different, there's different immigrant communities have gone into really specific fields for instance, Chinese laundries and, Vietnamese nail salons, Cambodian donut shops. Can you talk a little bit about how the storytelling is connected to the different waves of immigration first generation second, third generation? [00:47:35] Cathy Cenzia Choy: Yes that's a great question. And the book is not organized that way in the sense, like this year represents a particular wave and so does the next year. But there are particular chapters in the book that refer to immigration waves. And one of the chapters not the 1965 reprise, but there is a chapter 1965 about the faces of post 1965 Asian America and 1965 referring to the immigration act. Of 1965 is often considered this a major wave and a new kind of immigration that was different from late 19th and then early 20th century waves of immigration. Because by that point, immigration policy had created preferences for highly educated persons with needed skills. And one of the reasons why we are seeing so many Asian immigrant professionals in the United States is not an outcome of our innate ability in stem. But is also an outcome of but is an outcome of immigration policy. It's not in any ability there's quite a bit of training, that, that goes into it. And I actually didn't have much talent in the stem fields, even though I write sometimes about them like, like nursing but in the chapter, 1975 trauma and transformation, I talk about waves theory and how there's often the conceptualization of three different kinds of waves to describe Southeast Asian refugees to the United States with. the first wave beginning immediately after the fall of psych on in 1975 tended to be this wave of people who Southeast Asians who had connections to the us military there, I had worked with them and were more highly educated. And that was part of the first wave. And then the second wave, which is sometimes referred to as the boat people, even though a number of Asian American studies scholars have criticized the use of that term because it obscures their heroic will to live, but more, more, much more di diverse, ethnically a lot of Chinese Vietnamese people of farming backgrounds from rural areas in contrast to the first and then like this third wave that, that came later that involved groups like ations and even later than that also immigrants through immigration policy as opposed to, to refugee policy. And what I also point out is that these kinds of conceptualizations are important. They help us, understand historically some major changes in terms of Southeast Asian American demographics in this country. But I wanted to emphasize, so I write in the book, waves are constantly moving and taking different shapes. And in 2000 there was a new group of refugees who were resettled in Minnesota. And this is a living history and that newer waves of refugees are coming from Myanmar and Butan and who are working in places like. The state of Iowa and working in our meat packing plants and who also have been exposed disproportionately to COVID 19 because then president Donald Trump had invoked the defense production act to keep meat, packing plants open. So waves are important, but they're not set and they're always moving and flowing like our histories [00:51:16] Miko Lee: as a follow up to that. One of our audience members has a question about how many immigrants have when they first arrive have been exploited in their labor positions. And they're wondering if you could share some positive stories and I M I wonder if you could share with the audience about uncle Ted and what he did with donuts [00:51:35] Cathy Cenzia Choy: well, I think. it isn't it isn't as though there are positive and negative stories, oftentimes when you are really deeply engaging with these histories and these stories, there's often these moments that might be negative and then others that are more positive. And I think that adds to the humanity of people. And so just to give an, the example of the Filipino healthcare workers, some of 'em are nurses, but are also working in elder care. And some of those conditions that they're working in are very challenging. It's very challenging to be a caregiver. And at the same time, so many of them also take pride in their. I don't wanna portray them as just solely being, having a negative experience. They're proud of their caregiving and we need to care for our caregivers a bit more in this country. In terms of positive stories, so one thing I'll share is there's this and this is an example. I, I feel of resistance and that creative spark there's something called the south Asian American digital archive SAA D and they have this project called the first day's project. And it's a project where immigrants, regardless of immigrants from around the world can share their story on this digital platform to describe their first days in, in the United States. And. Even though these first days have a mix of like positive and negative aspects. I have to say while reading these stories it brought just smile and joy. For me and reading these stories that are so unique and universal at the first time, same time. And so one of the stories was of this young girl who was nine years old back in, in the early 2000 tens and she was from Nepal. And so she came from Nepal and she was. I imagine they were, they landed at SFO and then they had to go to San Pablo and she wrote she said I was disappointed that what I saw wasn't like, TV shows of New York city with all those tall buildings and all that fun stuff, but she took her first Bart ride. And she said that was just so amazing. She had never been on this kind of faster public transportation that brought them from San Francisco to San Pablo and something like 40 minutes. And then she said, she was working really hard. She was like nine years old. And then she became, because her, both her parents were working, I believe in the fast food industry. And she had a younger sister, so she had to learn how to cook for her parents and her. Her sister and even some extended family. And so she said I learned English from like watching, watching the joy of painting with Bob Ross. Wow. Yes. And then she said she watched shows with Rachel Ray and em, Emerald Lagosi like on food network and, and she said like she wanted to become, she learned from those shows. She wanted to become really famous. And so she would do the cooking in like she was on her own food network show in front of the audience. Her younger sister, [00:55:00] Miko Lee: so cute. So cute and shout out to VIN G and bar go, who founded that and also run the Berkeley south Asian radical history walking tour. If you haven't been on that, you should because it's amazing. I am sad to say that this brings our evening to a close. Thank you so much for joining us. I wanna just say that back in the corner, we have the most amazing east wind books, our local bookstore, yay. East wind books. And we didn't touch on one of the questions that I wanted to ask, but about Asian American, the terminology, Asian American Pacific Islander actually. Expressed a whole episode on that interviewing Harvey, Don, who is the founder of east wind books and is a fellow professor of ethnic studies at UC Berkeley. [00:55:49] Cathy Cenzia Choy: And one of the veterans of the strike is also here from the late 1960s both that took place in San Francisco state college as it was then as, as well as UC Berkeley. And that's part of the reason why I have my livelihood and is it part of the legacy? This book is part of that legacy. [00:56:09] Miko Lee: So check out our legacy Asian American history is of the United States by our amazing guest, Kathy Cena Cho, you can get the books and get autographed back in the corner. We thank you for supporting independent bookstores. [00:56:24] Cathy Cenzia Choy: Thank. [00:56:31] Miko Lee: Thank you so much for joining us, please check out our website, kpfa.org backslash program. Backslash apex express. To find out more about our show tonight and to find out how you can take direct action. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world. Because your voices are important. Apex express is a proud member of the acre network, Asian Americans for civil rights and equality apex express is produced by Miko Lee, Jalena Keane-Lee, Paige Chung, Hien Nguyen and Nate Tan and with special editing by Swati Rayasaman. Thank you so much to the KPFA staff for their support. Have a great The post APEX Express – 10.27.22 Cathy Ceniza Choy appeared first on KPFA.

Jelani talks with Joy Cho, creative director, designer, author, Thai American, and mother.  Joy is the founder of Oh Joy! and has collaborated with brands like Target, Band-Aid, Petco, and so many more.  She's done 40 licensing partnerships to date, creating colorful, and incredibly designed products.  Joy also happens to hold the record for the most followers of any influencer on Pinterest at 15+ million.Here's the thing about Joy though: just like Jelani and many others, she's an introvert.  She doesn't recharge when there's a bunch of people around her, but rather in those quiet moments by herself.  The child of immigrants, this conversation gets into how Joy's learned to keep the good things she got from her parents while evolving to fit with her family today.Jelani and Joy talk about how the key to parenting might just be flexibility. Flexibility with how you think things are supposed to go and how they actually go. Flexibility with the different stages of your kids' lives.  And flexibility to balance work, home, life, and everything else.  Joy has this parenting thing figured out, and we're so excited to share this conversation with you.Learn more about Joy at her site, ​​ohjoy.com. Contact us by emailing us at listen@akidsco.com.Explore our collection of over 80 books made to empower, by visiting akidsco.com. 

In this podcast I interview Kim Gamble. She is Thai- American, an entrepreneur, a chef and founder of multiple businesses. She shares her recent experience on being featured on Beat Bobby Flay, on the Food Network Channel, where she had the opportunity to try and topple down Bobby Flay in a cooking competition. We talk about her story of being Thai in the United States and how her childhood was different from her other American friends. She was confused and annoyed at that time, but it turned out to be just the experience she needed to propel her on her journey to go after her dreams. Kimberly Gamble  Owner and founder on Lucky Bird CA and Lanna Thai Restaurant  http://www.lannathailivermore.com/ You can find her on instagram instagram.com/imkiiiim

*trigger warning that the topic of sexual abuse comes up in this talk*Todays episode is so special as we invite Victoria Bwikler to share her medicine. Victoria is a  Thai-American, neurodivergent witch, and meditation teacher. Learning meditation can be impactful and beneficial on many levels and Victoria speaks beautifully on how it improved her quality of life and the work that she had done in the Haitian community teaching children this practice.  Through the conversation we explore Victoria's life story and open up into the topic of Thai witchcraft. If you are looking for magic, mindfulness, and connection please find Victoria at the links below.  Victoria is also available for donation based peer counseling.Instagram: @victoriabwikler @dharmawitch.ritualsVictoria's LinkTree

Join NWP Radio for a visit with author and NWP Writers Council member Pornsak Pichetshote. Pichetshote was a Thai-American rising star editor at DC's Vertigo imprint where he worked on such comics perennials as The Sandman and Swamp Thing. His books have been nominated for dozens of Eisner awards—be it the award-winning Daytripper, the New York Times bestseller The Unwritten, or critical darlings like Sweet Tooth and Unknown Soldier. He left Vertigo to become an executive in DC Entertainment's media team, where he started and oversaw DC TV's department. He is the author of Infidel, his first major comics work as a writer, and his newest series The Good Asian which features police detective Edison Hark.

Join NWP Radio for a visit with author and NWP Writers Council member Pornsak Pichetshote. Pichetshote was a Thai-American rising star editor at DC's Vertigo imprint where he worked on such comics perennials as The Sandman and Swamp Thing. His books have been nominated for dozens of Eisner awards—be it the award-winning Daytripper, the New York Times bestseller The Unwritten, or critical darlings like Sweet Tooth and Unknown Soldier. He left Vertigo to become an executive in DC Entertainment's media team, where he started and oversaw DC TV's department. He is the author of Infidel, his first major comics work as a writer, and his newest series The Good Asian which features police detective Edison Hark.

We're back for some summer time podcasting!Can you believe it?!? We are almost at the end of Season II. I am so excited to bring on our **NEW COHOST** and begin to tease out some of the way that Season III will be shaping up. We are excited to bring a few episodes in July - and we begin with the amazing Victoria B Wikler from @dharmawitchrituals Victoria B. Wikler is a Thai-American witch, peer counselor, mindfulness meditation teacher, and educator. She has 12+ years of experience in meditation as a Witch practitioner. She has taught mindfulness meditation to an array of  communities and individuals from Haitian children to Brooklyn witches. Victoria believes that mindfulness and spiritual expression is a human right, her mission has been and will always be to make mindfulness education, mental-health support, and safe spiritual practices intersectional and accessible to all- especially those among us who are underserved, under-appreciated, underprotected, and thus- underestimated.Check out her work with Dharma Witch Rituals Instagram or her practitioner page  Themes of this Episode What was your relationship to Magick growing up?Kuman Thong - In a world where Black Magic can be noted and rooted as “bad” or stigmatized by supremacy - why is the reclaimaiton of Asian Ancestral Witchcraft so important?What are a few aspects of Kuman Thong you're most excited to teach on?Temperance Balance - Moderation // Balance // SagitariusHow is Meditation magical?How do you meditate without distraction (HELP - love, an ADHD witch)You speak of psychedelic witchcraft - teachers that have supported that practice - censored.Dharma Witch Threads Let's talk altered states - what's been your experience with psychedelics as a way to expand your capacity of care and consciousness? - Tips & Support for beginners - stories welcome.Psychedelic for witches (psychedelic harm reduction)Support the show

A couple of weeks ago, I hosted my 20th high school reunion.And while I was there, I had the chance to catch up with lots of old friends, but I was especially excited to chat with Vincent Kitirattragarn.I've been watching his journey building Dang Foods from afar for the last ten years. Those delicious coconut chips at the end of the aisle at Whole Foods? That's Dang Foods.So today, we're sitting down to dig in further to his journey from popup restaurants to having shelf space in over 10,000 grocery stores.Vincent Kitirattragarn is the founder and CEO of Dang Foods, the largest healthy Asian snack company. Dang's coconut chips, rice chips, and nutrition bars are found in over 10,000 grocery stores and have earned many industry awards including the coveted SOFI “best snack” award multiple times. A Cornell Graduate, Vincent is a Forbes 30 Under 30 awardee, and Gold List A100 awardee. His journey was featured on NPR's “How I Built This” podcast in 2022. Vincent has been an active member of the Asian-American community for decades, organizing an annual Thai-American youth camp, supporting local organizations advancing justice for underrepresented ethnic communities, and supporting Bay Area food banks. In the natural food industry, Vincent advocates for Asian issues like the recognition of lunar new year and AAPI heritage month. He is also a board member to JEDI Collective, an industry group promoting justice, equity, diversity, and inclusion. Tune into this episode to hear:How Vincent went through several business models, from food trucks to popups, before landing on snack foodsThe growing pains of a rapidly scaling business and how they found out the hard way about following someone else's playbookHow they leaned in to their family story and found their positioningWhy Vincent says focus groups aren't worth itWhy he's not a growth at all costs entrepreneurLearn more about Vincent:Dang FoodsLearn more about Pia: No BS LaunchpadNo BS Agency Owners Free Facebook GroupThe Show Your Business Who's Boss Crash Course Start reading the first chapter of my bookPiasilva.comThe 50/25/25 Rule to Profit and Freedom™ Mini Course

Fashion designer Thakoon Panichgul became an industry darling when he was one of three recipients of the prestigious CFDA/Vogue Fashion Fund in 2006. More than a decade has passed since, and the Thai American designer is ushering his namesake brand into a new era with the same clean construction—this time with a direct-to-consumer business model. On this episode, Panichgul shares how he's adapting to a changing fashion landscape and what he's learned along the way. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Fashion designer Thakoon Panichgul became an industry darling when he was one of three recipients of the prestigious CFDA/Vogue Fashion Fund in 2006. More than a decade has passed since, and the Thai American designer is ushering his namesake brand into a new era with the same clean construction—this time with a direct-to-consumer business model. On this episode, Panichgul shares how he's adapting to a changing fashion landscape and what he's learned along the way. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We go to schools to train our brains. We go to gyms to train our bodies.  Where do we go to train our emotions? The reality is that we train our emotions on each other. This, however, is changing with a new generation of teachers who integrate social emotional learning and somatic practices into their curriculum. In this episode, we hear from four teachers who are on the leading edge of education. Their inspirations are both ancestral and science-based. Future generations will have whole new vocabularies and practices to integrate their minds, bodies and hearts. Fortunately, it's never too late to learn these integrated practices now. Melorie Serrano Masacupan, M.Ed is a writer coaching founders to tell their stories with her digital growth agency focused on organizational wellness. You can find her @heymelorie on all social platforms and at heymelorie.com.Jen Wolfe is a biracial Thai American mathematics teacher educator and scholar at the University of Arizona.  You can follow her on Twitter and Instagram, @drjenmathedTiffany Chan is a Chinese American educator and visual artist who seeks to build equitable & compassionate learning communities.  You can find her on Instagram @t.chanchan and at www.tiffanychanart.com Bong Lau (they/them) is a Cantonese somatics and mindfulness coach, singer, and visual artist who lives to cultivate creativity in themselves and others.Find encouragement to practice with the Gratitude Blooming cards in our metagarden community on discord: https://discord.gg/MeRrhxKax4We appreciate your support and help so we can bloom! Please take a moment to give us 5-stars and share a review. You can always email us at hello@gratitudeblooming.com. We want to hear from you! Give the gift of the Gratitude Blooming card deck at www.gratitudeblooming.com

Tori and Mabelle talk with internationally-produced Thai-American writer Prince Gomolvilas about his body of work in the TYA and adult playwriting worlds; commissions born out of a need in the community; and his transition from stuffed animals to actors. Other topics include an in-depth discussion of his play, “The Brothers Paranormal”; why children are the best dramaturgs; and Prince's interest in hidden history, racial intersectionality, mental health, and shifting tone within a play. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Casual talk กับคุณชาวดี นวลแข - Food Jounalist เจ้าของ, ผู้เขียนและผู้รวบรวม "Thailand's Best Street Food" หนังสือที่แนะนำอาหารข้างทางของไทยอย่างครบถ้วนให้กับชาวโลก เรียกว่าเป็นหนังสือภาษาอังกฤษเล่มเดียวของโลกที่เป็นฑูตทางอาหารการกินข้างทางที่เสมือนเป็นชีวิตประจำวันของคนไทยทั่วไป นอกจากนั้นคุณชาวดี ยังปรากฎตัวใน Netflix รายการ "Street Food" ตอนของกรุงเทพฯ ให้ข้อมูล สัมภาษณ์ และแนะนำวงการอาหารข้างทางของไทย - เจ๊ไฝ

We talk to Suwanee Lennon, a Thai American, a military wife, a mom, a photographer and as if that was not enough, she is also an aspiring food blogger. Her mission is to teach you how to make Thai food the real authentic way. She also spoke about her childhood in Thailand and then here in the US when she was adopted by her American mom and lived in a multi-cultural household. Her food journey is certainly very diverse, and she tries to instill that in her kids as well. Episode Website: https://culturallyours.com/2021/11/03/thai-cuisine-with-suwanee-lennon/ Show Notes: https://culturallyours.com/podcast/thai-cuisine-with-suwanee-lennon/ Show Website: https://culturallyours.com/podcast/  

Dr. Renee and Dr. Cristina welcome Tida Beattie, a 1st generation Thai-American end-of-life doula, community educator, and grief activist; and Soyeon Davis is a 1.5 generation Korean-American end of life doula. Tida and Soyeon are the co-founders of MESO, which provides advocacy, assistance, and support to immigrant families dealing with chronic illness and/or aging.Much of Tida and Soyeon's work at Meso is a product of their lived experience. Having lost many family members of their own and discovering the lack of support for underserved and marginalized communities, the two were inspired to fill this shocking gap in American society by creating an exclusive space for their people.Those in minority communities are culture bearers. It's so easy for Asian-American to become disconnected from their cultural roots, especially because of systemic silencing alongside the fact that they often lack role models. Tida shares why it is vital to reclaim one's rituals, practices, and beliefs that their ancestors have held onto before them.Soyeon talks liminal space and shares her complex (but common) experience of being othered not just in America but in her native Korea as well. It is our responsibility, she says, to accept and embrace this grief, but then to reconcile with it in order to not pass it on to the next generation.Finally, Tida and Soyeon explain their day-to-day work as life doulas and why they believe they serve as role models to the people they work with.Ultimately, as life doulas to the underserved and marginalized, Tida and Soyeon are role models to the individuals they serve. They encourage us not to suppress or hide from our grief, but to address it head-on. By destigmatizing these conversations, we rediscover our heritage and kickstart the process of healing not just for ourselves, but for the future generations.Connect with Las Doctoras:Visit their website: www.lasdoctoras.net Follow them on Instagram: www.instagram.com/las.doctorasListen on Apple ItunesConnect with MESO:Follow MESO on Instagram: www.instagram.com/mesocommunity

This week we talk with May Vutrapongvatana, Esq. (Twitter: @MayVutraETC, IG: @mayvutrapongvatana). May passed the bar exam and used to be a lawyer (hence the Esq.), but now she's an organizer for VOCAL NY (@VOCALNewYork)! VOCAL-NY is a statewide grassroots membership organization that builds power among low-income people directly impacted by HIV/AIDS, the drug war, mass incarceration, and homelessness. We start the episode off with our spicy new segment Hot Take Hot Pot, talk about reasons why Asian-led progressive movements might lose their edge over time, and what VOCAL NY does and how May got involved with them. If you're reading this, please check out @thaistogether, a group of Thai American artists recommended by May, AND give us our 25th review on Apple Podcasts! WHAT'S POLITICALLY ASIAN PODCAST? Two Asians talking about politics and the Asian American community to get more Asians talking about politics! Join comedians Aaron Yin (he/him) and Gerrie Lim (they/them) for 45 minutes-ish each week as they discuss current topics and events related to Asian Americans through the lenses of history, class, and advocacy. Think John Oliver's show, but there's two of us, and we're Asian. CHECK US OUT ON SOCIAL MEDIA: Our memes are so good Asian people will mention them when they meet us in real life. ➤ Instagram: https://www.instagram.com/politicallyasianpodcast/ ➤ Twitter: https://twitter.com/politicasianpod ➤ Website: https://politicallyasianpodcast.com INQUIRIES: politicallyasianpodcast@gmail.com SUPPORT US ON PATREON (currently fundraising for Canva Premium for even better memes and for episode transcription services): https://patreon.com/politicallyasian ALGORITHM? #asian #asianamerican #asianpodcast #asianpodcasters #podcast #asianpodcasts #aapi #stopasianhate #stopaapihate #apimedia #apahm #asiancomedy #asianjokes #asianmemes #subtleasiantraits #boba #asianpolitics #representation #representationmatters #asianculture #asianamericans #politics #asianpolitics #representasian #chinatown #abolition #aapihistory #crazyrichasians #shangchi #leftist

Tiensirin was born and raised in Bangkok, but has been living in the US for most of her adult life. We met by chance at Tao Ruspoli's place in Joshua Tree, and she allowed me to pick her brain a bit about the different cultural worlds she's moved between. The conversation took unexpected turns that left me feeling sincere admiration for this woman. Find more about her on Instagram or her web site. Find me on Instagram or Twitter. Please consider supporting this podcast. This Amazon affiliate link kicks a few bucks back my way. Intro music: “Brightside of the Sun,” by Basin and Range; "Texas Sun," by Kruangbin (with Leon Bridges); "Smoke Alarm," by Carsie Blanton. 

Ira Sukrungruang, an American Book Award Winner is back with This Jade World (University of Nebraska Press, 10/21), a new memoir soon to be featured in the Chicago Tribune that seeks to confront Asian stereotypes and redefine the “divorce memoir” genre. Edited by Tobias Wolff and part of UNP's esteemed American Lives Series, Ira recounts his experience as a Thai American as he returns to his ancestral roots while dealing with the dissolution of his marriage. Ira married young to an older poet, and on their twelfth anniversary, he received a letter asking for a divorce, which sent him into a despairing spiral. How would he define himself when he was suddenly without the person who helped mold him into the person he is? Returning to the bustling marketplaces of Chiang Mai and Bangkok, the ancient temples and lush greenery of Thailand, Ira seeks to obliterate the stereotype of the “sexless” Asian man as he recounts a year of mishap, exploration and experimentation, self-discovery — and eventually, healing. We discuss the power of vulnerability when telling your story and healing, intersection between Thai culture and gender, and being a BTS ARMY! To learn more about Ira and purchase his books: http://www.buddhistboy.com/ To order This Jade World   

Greetings, ghouls, and get ready for a little tension and suspense. Candace and Ariel are back from the beach, still relatively young, and are talking to comics and tv writer Pornsak Pichetshote about the horror comics that freaked us out the most, film criticism as a defense mechanism, and of course our double feature. Today we've got two variations on the home invasion genre - Green Room (2015), and Funny Games (1997 and 2007 because we accidentally watched two different versions lol oops). Stick around for discussion of so-called “elevated” horror, analysis of punchable faces, a performance “devoid of camp,” more reviews from fake Roger Ebert, and one (1) shocking confession from Ariel. One or more of these movies may get on your nerves, but hey, buy the ticket, take the ride, right? You're in good hands with us, we promise. Pornsak Pichetshote is a Thai-American writer of comics and TV. His comic book series INFIDEL has been listed on NPR's Best Horror Stories of all Time, featured on 20+ Best of the Year lists (including NPR, Barnes & Noble, Huffington Post & The Hollywood Reporter) and optioned for a feature film by Sugar23 and Tristar Pictures. His new book THE GOOD ASIAN has launched to industry acclaim. As a TV writer, his work includes Marvel's Cloak & Dagger, Two Sentence Horror Stories, and Light as a Feather. A proud part of the Morbidly Beautiful Podcast Network. Our drive for intersectionality aligns well with the Morbidly Beautiful ethos. We love that MB is a nonprofit that gives back to the horror community, and are thrilled to be a part of the network! Show now also streaming on morbidlybeautiful.com! Movies Discussed: Green Room (2015), Funny Games (1997), Funny Games (2007) Links: IG- instagram.com/nyfgpod Twitter- twitter.com/nyfgpod FB- facebook.com/nyfgpodcast/ Pod merch- https://society6.com/nyfgpod I am Not Your Final Girl by Claire C. Holland- https://www.amazon.com/Am-Not-Your-Final-Girl/dp/0692966633 Bandcamp- arieldyer.bandcamp.com Show art by Brian Demarest: instagram.com/evilflynn

Edison Hark, the star of The Good Asian (Image Comics: 2021), the new comic series written by Pornsak Pichetshote and illustrated by Alexandre Tefenkgi, never signed up to investigate a murder in Chinatown. As the only Chinese-American law enforcement officer in the United States, he travels to San Francisco in 1936 to help find a Chinese maid who has run away from the household of the man who raised him. But he stumbles upon a crime scene that harkens back to an old crime legend: a hitman for the old Tongs, back for revenge. But while The Good Asian tells a thrilling noir story of crime, detectives and investigations, it also tells the story of the Chinese community, who at the time were still under scrutiny under laws like the Chinese Exclusion Act. The comic grapples with ideas of racial prejudice, respectability politics, and identity. In this interview, Pornsak and I talk about the setting and genre of The Good Asian, and what it means to star a Chinese-American lead in such a well-known genre. Pornsak Pichetshote was a Thai-American rising star editor at DC's Vertigo imprint where he worked on such comics perennials as The Sandman and Swamp Thing. He left Vertigo to become an executive in DC Entertainment's media team, where he started and oversaw DC TV's department. He is also the writer of Infidel, also for Image Comics, which was his first work as a writer. He can be followed on Twitter at @real_pornsak, and on Instagram at @real_psak. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of The Good Asian. Follow on Facebook or on Twitter at @BookReviewsAsia. Nicholas Gordon is an associate editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/asian-review

Edison Hark, the star of The Good Asian (Image Comics: 2021), the new comic series written by Pornsak Pichetshote and illustrated by Alexandre Tefenkgi, never signed up to investigate a murder in Chinatown. As the only Chinese-American law enforcement officer in the United States, he travels to San Francisco in 1936 to help find a Chinese maid who has run away from the household of the man who raised him. But he stumbles upon a crime scene that harkens back to an old crime legend: a hitman for the old Tongs, back for revenge. But while The Good Asian tells a thrilling noir story of crime, detectives and investigations, it also tells the story of the Chinese community, who at the time were still under scrutiny under laws like the Chinese Exclusion Act. The comic grapples with ideas of racial prejudice, respectability politics, and identity. In this interview, Pornsak and I talk about the setting and genre of The Good Asian, and what it means to star a Chinese-American lead in such a well-known genre. Pornsak Pichetshote was a Thai-American rising star editor at DC's Vertigo imprint where he worked on such comics perennials as The Sandman and Swamp Thing. He left Vertigo to become an executive in DC Entertainment's media team, where he started and oversaw DC TV's department. He is also the writer of Infidel, also for Image Comics, which was his first work as a writer. He can be followed on Twitter at @real_pornsak, and on Instagram at @real_psak. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of The Good Asian. Follow on Facebook or on Twitter at @BookReviewsAsia. Nicholas Gordon is an associate editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/asian-american-studies

Edison Hark, the star of The Good Asian (Image Comics: 2021), the new comic series written by Pornsak Pichetshote and illustrated by Alexandre Tefenkgi, never signed up to investigate a murder in Chinatown. As the only Chinese-American law enforcement officer in the United States, he travels to San Francisco in 1936 to help find a Chinese maid who has run away from the household of the man who raised him. But he stumbles upon a crime scene that harkens back to an old crime legend: a hitman for the old Tongs, back for revenge. But while The Good Asian tells a thrilling noir story of crime, detectives and investigations, it also tells the story of the Chinese community, who at the time were still under scrutiny under laws like the Chinese Exclusion Act. The comic grapples with ideas of racial prejudice, respectability politics, and identity. In this interview, Pornsak and I talk about the setting and genre of The Good Asian, and what it means to star a Chinese-American lead in such a well-known genre. Pornsak Pichetshote was a Thai-American rising star editor at DC's Vertigo imprint where he worked on such comics perennials as The Sandman and Swamp Thing. He left Vertigo to become an executive in DC Entertainment's media team, where he started and oversaw DC TV's department. He is also the writer of Infidel, also for Image Comics, which was his first work as a writer. He can be followed on Twitter at @real_pornsak, and on Instagram at @real_psak. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of The Good Asian. Follow on Facebook or on Twitter at @BookReviewsAsia. Nicholas Gordon is an associate editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Edison Hark, the star of The Good Asian (Image Comics: 2021), the new comic series written by Pornsak Pichetshote and illustrated by Alexandre Tefenkgi, never signed up to investigate a murder in Chinatown. As the only Chinese-American law enforcement officer in the United States, he travels to San Francisco in 1936 to help find a Chinese maid who has run away from the household of the man who raised him. But he stumbles upon a crime scene that harkens back to an old crime legend: a hitman for the old Tongs, back for revenge. But while The Good Asian tells a thrilling noir story of crime, detectives and investigations, it also tells the story of the Chinese community, who at the time were still under scrutiny under laws like the Chinese Exclusion Act. The comic grapples with ideas of racial prejudice, respectability politics, and identity. In this interview, Pornsak and I talk about the setting and genre of The Good Asian, and what it means to star a Chinese-American lead in such a well-known genre. Pornsak Pichetshote was a Thai-American rising star editor at DC's Vertigo imprint where he worked on such comics perennials as The Sandman and Swamp Thing. He left Vertigo to become an executive in DC Entertainment's media team, where he started and oversaw DC TV's department. He is also the writer of Infidel, also for Image Comics, which was his first work as a writer. He can be followed on Twitter at @real_pornsak, and on Instagram at @real_psak. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of The Good Asian. Follow on Facebook or on Twitter at @BookReviewsAsia. Nicholas Gordon is an associate editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Edison Hark, the star of The Good Asian (Image Comics: 2021), the new comic series written by Pornsak Pichetshote and illustrated by Alexandre Tefenkgi, never signed up to investigate a murder in Chinatown. As the only Chinese-American law enforcement officer in the United States, he travels to San Francisco in 1936 to help find a Chinese maid who has run away from the household of the man who raised him. But he stumbles upon a crime scene that harkens back to an old crime legend: a hitman for the old Tongs, back for revenge. But while The Good Asian tells a thrilling noir story of crime, detectives and investigations, it also tells the story of the Chinese community, who at the time were still under scrutiny under laws like the Chinese Exclusion Act. The comic grapples with ideas of racial prejudice, respectability politics, and identity. In this interview, Pornsak and I talk about the setting and genre of The Good Asian, and what it means to star a Chinese-American lead in such a well-known genre. Pornsak Pichetshote was a Thai-American rising star editor at DC's Vertigo imprint where he worked on such comics perennials as The Sandman and Swamp Thing. He left Vertigo to become an executive in DC Entertainment's media team, where he started and oversaw DC TV's department. He is also the writer of Infidel, also for Image Comics, which was his first work as a writer. He can be followed on Twitter at @real_pornsak, and on Instagram at @real_psak. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of The Good Asian. Follow on Facebook or on Twitter at @BookReviewsAsia. Nicholas Gordon is an associate editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

More Than A Noodle is a podcast made by a Thai American for the Thai diaspora and is about the Thai diaspora. In this bonus episode, your host Jeremy Lee will talk about why he created this podcast and the history of Pad Thai.

In 2004 Thakoon Panichgul produced his first ready to wear collection. Tamara met Thakoon prior to that time, when he was working at Harper's Bazaar and for the designer Yeohlee, and she remembers his always-strong creative point of view. On this podcast we go back to that time, and the designer recalls what was inspiring him creatively at that point in his life. Based in New York City, today Thakoon is one of the globe's top fashion designers. The Thai-American creative visionary grew up in Nebraska, and we discuss his midwestern roots and the nod to preppy sportswear style that he's able to bring to the latest iteration of his work, his direct to consumer collection of clothing and accessories of the same name. Thakoon has always possessed a razor sharp skill for zeroing in on the silhouettes and pieces that women want to wear now. Listen in as he talks about being known for his modern and cool prints, his love and dedication to American menswear sensibility, and his famous collab with Gap, which was documented in the now-classic fashion film, The September Issue. We talk about the influence of and his relationships with Anna Wintour and Alber Elbaz, and the women that he's dressed, who have provided him with vast inspiration and have served as muses...women like Michelle Obama, Sienna Miller, and Alexa Chung. On this episode 80 of Story + Rain Talks, we discuss what it takes to create the high-quality pieces he's known for---and at his current price point of $40 to $400. Thakoon talks travel, being wired for creativity, and he shares the Saturday ritual that he calls his “extra cup of coffee”. We discuss his love of easy styling, and working in a digital world where images can be easily manipulated. Thakoon talks about the time when he took a break from fashion, what it's like to be boxed in as a designer and brand, and learning to not let anyone dictate how customers will view his collections. We talk what it takes to be a true visionary, how the fashion industry has changed, his editorial passion project and brand Hommegirls, and a lot more. This is a treasured podcast and conversation with the very best (in every sense of the word), in fashion today. Discover his #obsixed list of some favorite things here: 1. Shop Thakoon https://thakoon.com/collections/new-arrivals 2. Hommegirls https://www.hommegirls.com/ 3. Hoodie by Thakoon https://rstyle.me/+MfPO1_E7qublPJTUewslMQ 4. Men's Thermoball Traction Mule V by NorthFace https://rstyle.me/+IDzM2m95qF6wkxcErBfTXQ 5. Floral Arrangements by Angelica, New York https://angelicaflowersandevents.com/ 6. Watching RuPaul's Drag Race https://www.vh1.com/shows/rupauls-drag-race 7. Frozen gyozas from Sunrise Mart www.sunrisemart.com 8. Zines from Daikanyama Tsutaya Books in Tokyo ttps://www.timeout.com/tokyo/shopping/daikanyama-tsutaya-books

Michael Stalcup is a bi-racial Thai-American missionary and poet. Born and raised in Southern California, he now lives in Bangkok, Thailand with his wife and three children. His poetry has been published in several magazines, including Commonweal Magazine, First Things, and Sojourners. He also co-leads (with Chanté Griffin) a workshop called Spirit & Scribe about the intersection of spiritual formation and writing craft.Things mentioned: His Hand (painting + my poem) — https://medium.com/ar-che-type/his-hand-fd5efb0e4ea6Can Poetry Matter? (article by Dana Gioia) — https://www.theatlantic.com/magazine/archive/1991/05/can-poetry-matter/305062/Waiting on the Word: A Poem a Day for Advent, Christmas, and Epiphany (book by Malcolm Guite) — https://www.amazon.com/dp/B014SZZO9O/Poetry for All (podcast) — https://poetryforall.fireside.fm/Design Patterns in Biblical Narrative (video by BibleProject) — Design Patterns in Biblical NarrativeFind Michael:Website: michaelstalcup.comInstagram: @michaelstalcupTwitter: @michael_stalcupFacebook: Michael Stalcup PoetryExplore A Growing Home more:InstagramBlogFacebook 

Tonight's guest speaker, Jae B Singhay - Activist, Asians With Attitude (AWA), Jae B is now serving as security for the elders following series of attacks on the Asian community.Jae B was triggered by the recent death of Vicha Ratanapakdee, a Thai American man who died after being forcefully pushed to the ground in a daylight attack in San Francisco, California.Asians being blamed for Covid-19 has brought on the uprise in the recent attacks in the Asian community. Jimmy and his group, Asian With Attitude (AWA) are fighting for justice and reform on policies to enforce hate crimes.

In 2004 Tammy Duckworth was shot down by Iraqi insurgents while she was serving in the army and lost both legs in the attack. As America withdraws troops from Afghanistan, Anne McElvoy asks the Illinois senator about the legacy of America's interventions abroad and whether President Biden is making the right decision. The first Thai-American woman in Congress says there is "enough pie for everyone" and minority groups in Congress should work together. Also, what scares her? Please subscribe to The Economist for full access to print, digital and audio editions:www.economist.com/podcastoffer See acast.com/privacy for privacy and opt-out information.

In 2004 Tammy Duckworth was shot down by Iraqi insurgents while she was serving in the army and lost both legs in the attack. As America withdraws troops from Afghanistan, Anne McElvoy asks the Illinois senator about the legacy of America's interventions abroad and whether President Biden is making the right decision. The first Thai-American woman in Congress says there is "enough pie for everyone" and minority groups in Congress should work together. Also, what scares her? Please subscribe to The Economist for full access to print, digital and audio editions:www.economist.com/podcastoffer See acast.com/privacy for privacy and opt-out information.

What’s it like growing up in a Black and white city when you don’t fit neatly in either category? A Chinese American and Thai American share their perspective on life in St. Louis — and the deadly attacks in Atlanta that have galvanized Asian American communities across the U.S.

Welcome to March! This month, in honor of women’s history month, we are featuring conversations with women and non-binary leaders who are working to address issues in their communities. This week, we’re speaking with Amanda Nguyen. Amanda is the CEO and founder of RISE, a millennial-driven social change incubator for citizen lawmaking. Because of her work passing legislation for sexual assault survivors, she was nominated for a 2019 Nobel Peace Prize. More recently, Amanda has been working to mobilize a nationwide response to the surging attacks on Asian Americans. Since the beginning of the pandemic, Asian Americans across the country have reported being targeted in 3,000 hate incidents. According to NYPD data, anti-Asian American hate crimes are up 1900% in the last year. And just weeks ago,, an 84-year-old Thai American man was murdered in San Francisco, a 91-year-old man was shoved to the ground in Oakland’s Chinatown, a 64-year-old Vietnamese woman was assaulted in San Jose and a Filipino American man was slashed in the face on a subway in New York City. These assaults are happening during a pandemic where Asian Americans have disproportionately lost their jobs or had their businesses boycotted. In response to the recent attacks and to the relative silence of mainstream media, Amanda posted a now-viral video on Instagram naming the attacks and calling for media attention and public action. Amanda joins us to talk about this wave of violence and what she’s doing about it.

There is a new musical at the 5th Ave Theatre called Half the Sky. Which is about Aurelie, who after her sister's death she sets out to fulfill her childhood dream of climbing Mount Everest. As Aurelie embarks on her path to the top of the world, memories of her Thai American past and the unresolved rift between her and her sister begin to surface. Half the Sky's Artistic Director, Bill Berry, and the co-writers Tidtaya Sinutoke, and Isabella Dawis came on today's program to talk about this amazing musical and let us know what it was like putting this together during a lockdown. Then we got plugged into the movies with Adam Holts who gave us some excellent new and old movie recommendations --- Send in a voice message: https://anchor.fm/michelle-m-mendoza/message

There is a new musical at the 5th Ave Theatre called Half the Sky. Which is about Aurelie, who after her sister's death she sets out to fulfill her childhood dream of climbing Mount Everest. As Aurelie embarks on her path to the top of the world, memories of her Thai American past and the unresolved rift between her and her sister begin to surface. Half the Sky's Artistic Director, Bill Berry, and the co-writers Tidtaya Sinutoke, and Isabella Dawis came on today's program to talk about this amazing musical and let us know what it was like putting this together during a lockdown. Then we got plugged into the movies with Adam Holts who gave us some excellent new and old movie recommendations.

On this episode of What’s on Your Table, Julie is diving into Thai-American culture and talking to Jenn Saesue, Pailin Chongchitnant, and Parnass Savang. Saesue is the owner of Fish Cheeks, a popular Thai restaurant in New York City. Chongchitnant runs the popular Thai cooking blog, "Hot Thai Kitchen." Savang is one of the owners of Talat Market, a Thai market and restaurant in Atlanta. The guests discuss their favorite Thai dishes, as well as how their heritage has guided their careers.Heritage Radio Network is a listener supported nonprofit podcast network. Support the Feedfeed by becoming a member!the Feedfeed is Powered by Simplecast.

Tanny Jiraprapasuke and Jerry Raburn are the co-chairs of Thai Americans for BidenThis election is the first time a major presidential candidate recognized and included Thai Americans as a part of the campaignLos Angeles has the largest Thai American population in the countryHere is the link to the Thai Americans for Biden Facebook page: https://www.facebook.com/groups/1678097495699890

We're taking a (virtual) trip to different parts of the world and learning about music from different places! Today, we'll learn about music from Thailand and Iran with multi-instrumentalist and composer Jon Silpayamanant. *** Born in Udon Thani, Thailand, Jon Silpayamanant is an intercultural multi-instrumentalist, composer, and music educator based in the greater Louisville area. As a biracial Thai American with musical families on both sides of the world, he has been navigating musical code switching and bimusicality for much of his life and uses that experience to inform his understanding of how music ecosystems interact, hybridize, and evolve into new styles and genres. *** More information on the Saw U More information on the kamancheh *** Donate to support this and future seasons of The Music Box.

Welcome to Season 5 of Rock the Boat! In Season 5 we highlight Asian Americans who are challenging the status quo in the world of Government, Politics, Civic Engagement, and Advocacy. We are proud to be partnering with the Model Majority podcast to bring you a short season of incredible guests. Today’s guest is Senator Tammy Duckworth. She is the first Thai American woman elected to Congress. She is the first woman with a disability elected to Congress, and she is the first Senator to give birth while in office. We hope these conversations can inspire you to vote this November, help remind your friends and family to vote, and maybe even inspire you to get involved in your local community. ——————————————- You can find the Modern Majority Podcast on Spotify, Apple Podcasts, and on their website: https://modelmajoritypodcast.com/ Learn more about Tammy and the work she’s done: https://www.duckworth.senate.gov/ Watch Debt of Honor on PBS Check your voter registration status: https://www.rockthevote.org/resources/am-i-registered-to-vote/ Check out absentee voting in your state: https://www.ncsl.org/research/elections-and-campaigns/absentee-and-mail-voting-policies-in-effect-for-the-2020-election.aspx Learn about your local candidates: https://issuevoter.org/ ——————————————- Follow Rock the Boat on Facebook, Twitter, and Instagram @rocktheboatnyc. You can reach us at hello@gorocktheboat.com. If you’re a fan of the podcast, please subscribe, share, and leave us a 5-star rating on iTunes! We really appreciate your help in spreading the word. --- Send in a voice message: https://anchor.fm/rocktheboat/message

In this episode of More Than A Noodle, I sit down with Jerry Raburn, a student and co-founder of Thai Americans for Joe Biden, to talk about how he got involved with civic engagement and how Biden's platform relates to the Thai American community.

In today’s podcast, I am joined by OG YouTuber, former MTV 'Wild ’n Out' cast member, host of the “No Chaser Podcast”, host of the food shows, “Send Foodz” and “Acquired Taste” and a guy who’s reason for pursuing a career in the entertainment industry was to show people that not all Asians were nerdy, weak and awkward. Today I welcome none other than Timothy Chantarangsu, a.k.a Timonthy DeLaGhetto to the podcast. During this conversation, Tim and I spoke about his early days on Youtube, how it only took 80,000 views back then to get him on the recommended front pages of Youtube, why he originally wanted to get into the entertainment industry, the golden years of Youtube, his proudest personal and professional moments, if there was a moment during his career where he wanted to quit, why the recent name change and what his goals look like in the next couple of years.I enjoyed having this conversation with Tim and I’m sure you guys will too. Here’s to Episode 16. EnjoyYou can follow Timonthy Delaghetto on Instagram at @timchantarangsu or check out his youtube channel at @TimothyThank you for tuning in and don't forget to hit subscribe!SOCIAL MEDIA:instagram.com/thisisforuspodcastinstagram.com/asianmenswearEMAIL US:thisisforuspodcast@gmail.comJOIN OUR EXCLUSIVE COMMUNITY:Facebook Community (click here)

Today’s Iconic Woman is a modern-day warrior woman… Tammy Duckworth, survivor of a series of war injuries that occurred when she was co-piloting a helicopter in combat during the Iraq War!    Tammy is a woman of many firsts - she was the first female American double amputee of the Iraq war, the first person born in Thailand elected to Congress, the first Thai American woman elected to Congress, the first woman with a disability elected to congress, and the first Asian-American from Illinois in Congress, the first female double amputee in the Senate, the first senator to give birth while holding office, and the first senator to vote while holding a baby on the Senate floor…   She’s a champion for the Americans with Disabilities Act, veterans’ rights, and women’s rights. She introduced and led a resolution to change the rules to allow Senators to bring children under one year old onto the Senate floor in order to breastfeed. And, she was awarded a Purple Heart for her injuries sustained during her service.   There are so many things that make Tammy Duckworth iconic. She has overcome incredible obstacles and also broken innumerable barriers. She’s an unstoppable force in her courage and determination to fight forward.   Don’t be afraid to be the first! Your whole life, people will tell you you can’t, or that it has never been done before, or that it “just isn’t done that way.” But hopefully, Tammy’s story can help us push back against those criticisms and push forward to fight for what we believe in, and if something has never been done before, we can be the leader for change!

More Than A Noodle is a podcast made by a Thai American for the Thai diaspora and is about the Thai diaspora. In this episode, your Jeremy Lee, the host of this podcast, sits down with Priya Kavanakudiyil to have a conversation about the hopes for this podcast and what it was like growing up in Utah! Editor's Note: At one point in the podcast I say that Texas is the same size as Thailand. That's not true. Thailand is about a third of the size. Sorry for the confusion!!!

Sherry shares about being Uniquely Fashioned in the season(s) where God has you. God has purposed your past journey, your present for right now, right where you are, and the right time. He always has your future purposed for you. Through your journey(s) that God has you on he is developing the women of God you are and giving you the tools so that you can glorify him in all that you do. Bible References: Ecclesiastes 3:1-11 & Ephesians 2:10 If you were able to go back in your past, would you do it all over again? Is there anything you would change? What are some regrets? What are your victories you have been through? Sherry's Bio: Sherry was born in Thailand and is half Thai/American. She spent most of her life in America but was given the opportunity in 2001 to serve under a ministry in India that helped women successfully walk away from a life of being a trafficked victim. In 2015 she took the call to return to Southeast Asia to work with displaced peoples and women. Her desire is to see the women of Asia come to know their Identity in Christ, to live in the freedom and Grace of a God who sees them as beautiful daughters. Sherry heads up the international contacts, programming and planning for Bloom International.

Jenn’s Thai-American identity paired with an extensive experience within the industry has led to the critical and commercial success of contemporary “pad thai free zone” Thai restaurant, Fish Cheeks.

Rayana Chumthong is a first-generation Thai American cinematographer. She has shot a diverse range of content including narrative short films, music videos and most recently lensed video content for Harper's Bazaar, L'OREAL and the legendary music group, Earth, Wind & Fire. In 2018, Rayana was chosen as a participant for American Film Institute's inaugural Cinematography Intensive for Women (CIW) program and will be pursuing her MFA as a Cinematography Fellow at the American Film Institute Conservatory in the Fall 2020. Prior to transitioning into the role of cinematographer, Rayana has worked as an AC and Camera Operator on narrative feature films, music videos and branded content. Other notable camera operating work include digital content for Disney+ and feature film LA LEYENDA NEGRA which premiered at Sundance 2020. Website: rayana.co https://www.facebook.com/rayanac https://www.instagram.com/rayana/    

Michael Stalcup reads "The Rule," a poem crafted in response to the police murder of George Floyd and the incident in Central Park involving Christian Cooper and Amy Cooper (aka "Central Park Karen"). Stalcup is a Thai-American poet living in Bangkok, Thailand. His poetry is featured (or forthcoming) in several magazines, including Commonweal Magazine, First Things, and Inheritance Magazine.

Paving a way to save the earth. Shawnee Younvanich is a cheerful 26 year old resident volunteer at the Dhammakaya International Meditation Center (DIMC) in Azusa, California who dedicates most of her time volunteering for Peace Point Meditation. She is a second generation Thai-American and considers herself to be more of the latter. Shawnee's goal in her volunteering endeavors stem from her belief that meditation is transformative and can aid people in finding their true peace and purpose in life. Her goal is to bring world peace through inner peace. Airdate: April 11, 2020 https://www.facebook.com/meditationcenterofchicago/videos/238519507524514/

Today's featured guest is Marissa Vichayapai, Chief of Staff at 21 Progress, who identifies as a creator and movement builder. She is a first-generation Thai American and incredibly passionate about building community power, driven by her belief that every person has a unique purpose.With a background in social psychology, research, non-profit management, and youth development, Marissa uses her talents and passion to drive her leadership. She has organized and advocated for immigrant rights issues and policies working with diverse immigrants from across two dozen countries. She recently traveled to Myanmar to attend a 10 day silent mediation retreat. Originally from Bangkok, Thailand, much of her values are influenced by Thailand's deep culture of hospitality, acceptance, and a love for fun.Learn more and connect with Marissa:https://www.linkedin.com/in/marissavichayapai/https://21progress.org/https://www.facebook.com/21Progresshttps://www.instagram.com/21_progress See acast.com/privacy for privacy and opt-out information.

Music and conversation with Thai-American pianist and interdisciplinary artist Mary Prescott. Mary shares the stories behind the works she is presenting at concert hall Roulette. roulette.org

Music and a conversation with Mary Prescott, the Thai-American interdisciplinary artist, composer, and pianist based in Minneapolis and New York City whose work explores the foundations and facets of identity and social conditions. Prescott discusses process, experimentation, improvisation, and curiosity alongside excerpts from Songs Between Life and Death recorded in concert at Roulette in 2019.

Origin: Why/how Ann started into stand-up comedy (1:30)On Failing: How do you push through the failures? (6:15)Coming up with New Ideas: And on importance of knowing who you are. (9:54)Crafting the joke: Establishing subtext (12:25)Joke structure: premise, subtext, reveal/surprise (13:45)Excerpt/Sound Clip from Ann's recent set (15:24)Breaking down the mechanics behind jokes from Ann's set (17:22)Sharing personal material, learning about yourself (25:45)Connect with Ann on IG here! (IG: @ann_chun)

Welcome back to another episode of Compassion Fatigue! Continuing our theme for the previous week, we are talking about amazing Thai American heroes! We celebrate Senator Tammy Duckworth, a new animated Thai American heroine Anne on Disney's "Amphibia," Brenda Song, and Cherry Chevapravatdumrong.

In this episode, we speak to Thai-American director Nana Dakin, a member of B-Floor Theatre who is currently living and working in New York City. Earlier this year, she directed “White Pearl,” at the Royal Court in London. Here, we talk to Nana about being an artist in Thailand and the US, and the return of her show, "Damage Joy," which opens the Bangkok International Performing Arts Meeting (BIPAM).. สำหรับเอพิโสดนี้ เราไปพูดคุยกับ นานา เดกิ้น ผู้กำกับไทย-อเมริกัน หนึ่งในสมาชิกของ B-Floor Theatre ซึ่งปัจจุบันใช้ชีวิตและทำงานอยู่ที่นิวยอร์ก ประเทศสหรัฐอเมริกา และเพิ่งฝากผลงานกำกับละครเรื่อง "White Pearl" ที่กรุงลอนดอน ซึ่งได้รับเสียงตอบรับเป็นอย่างดีจากผู้ชมและนักวิจารณ์ในอังกฤษ โดยล่าสุดเธอได้กลับมาไทยพร้อมกับนำการแสดง "Damage Joy" มาแสดงอีกครั้งในเทศกาล BIPAM .Intro: BilingualThis episode is in English. เอพิโสดนี้เป็นภาษาอังกฤษ โดยบทแปลภาษาไทยจะโพสต์ลงเว็บไซต์เร็ว ๆ นี้.ติดตาม / Follow  www.bangkokoffstage.com

Inspiration is one of those mysteries that can’t be planned or controlled or forced, it can only be experienced. And often inspiration comes in the unlikeliest of times and through the unlikeliest of conduits.  When our guest, Katherine Hartsell, stepped away from dancing professionally with Boston Ballet, she decided to give herself some breathing room away from the ballet. Not long after, her daughter Kritsana, came into her life.  Unbeknownst to Kath, her daughter Kritsana was just the blessing and motivator to a vast amount of inspiring moments that would lie ahead for Kath. In the simple act of re-entering the theater by taking her daughter to see the ballet, Katherine’s whole heart re-emerged for the art form, not only through seeing ballet through the fresh, child like excitement of her daughter, but through recognizing the magnificent female artists on and off stage who have been a part of her community all along. And with that, the ‘smoothie’ of sorts as Katherine wonderfully refers to it later on in this episode, began to come together. With the influence of her past as a professional dancer, her Thai-American daughter, her commitment to simplicity and sustainability, and celebrating women who dance, she founded Jai-Dee Dancewear, a sustainable leotard company that benefits the arts.    SHOWNOTES connect on instagram @jordannicoleh

Bethany interviews friend, Writing Barn student and teacher, and prolific author Christina Soontornvat in this episode of Courage to Create. Christina is the author of THE CHANGELINGS and IN A DARK LAND, the chapter book series DIARY OF AN ICE PRINCESS, three forthcoming picture books, the upcoming middle grade novel A WISH IN THE DARK, and the highly anticipated ALL THIRTEEN: THE INCREDIBLE CAVE RESCUE OF THE THAI BOYS' SOCCER TEAM. Together, Bethany and Christina discuss all of these titles plus the importance of diversity in children's literature. As a first-generation Thai American, Christina is thrilled to be writing books with children that look like her and her family on the covers. In the spirit of the We Need Diverse Books movement, Christina strives to create stories that are mirrors and windows for children and that show readers the "white by default" mentality is inadequate in literature. She and Bethany also discuss the long time involved in publishing books and picture books in particular. The kid lit industry involves so little that writers can control, and Christina talks about how finding joy in the work and the craft are crucial because those are about the only elements of the business creatives can control. They also chat about freeing yourself from your own inner editor and getting out of your own way so that you can enjoy your work and your literary life. Tune in today for this inspiring episode of Courage to Create and find out more about Christina at https://soontornvat.com/

A bit of self-promotion first - we’re happy to see that the Bangkok Podcast was chosen as one of 2019’s top 25 expat podcasts over at Feedspot. A great honor! Now to the show... Greg and Ed are psyched to sit down with Pailin Wedel, a Thai-American journalist and filmmaker based in Bangkok, about her new film “Hope Frozen.” Pailin talks a bit about her background as a journalist making short documentary pieces for Al Jazeera and other news outlets. Her new film, however, sprang from a chance meeting with a Thai family suffering an extraordinary tragedy. In brief, the young daughter of a very scientifically-minded Thai family was suffering from terminal cancer, and the family made the decision to ‘cryo-preserve’ their daughter in the hopes that she could possibly be revived in the future with superior technology.  Pailin saw the opportunity to tell a unique story, and luckily the family agreed to be filmed. What ensued was a more than two year process of following the family through the twists and turns of this nightmare scenario, including sometimes unflattering coverage in the Thai media. Pailin relates the tale of making the film and the multiple cultural and religious questions raised by the family’s decisions. She details not only the family’s struggles, but also her own fight to find adequate funding to do the story justice.  The story of ‘Hope Frozen’ reached an incredible (and thoroughly unexpected) climax when the film won the highest award at North America’s largest documentary film festival, HotDocs. Listen in for Pailin’s first hand account of discovering and telling this amazing story, and make sure to follow its continuing journey on the Hope Frozen Facebook page. As always, the podcast will continue to be 100% funded by listeners just like you who get some special swag from us. And we’ll keep our Facebook, Twitter, and LINE accounts active so you can send us comments, questions, or whatever you want to share.

After Foodbeast posted a video highlighting a restaurant and a special menu they called the "Lao Table Feast," a Lao chef spoke up for the underrepresented community and called out the content within the video. Saying that there was not a single Lao dish on the menu, chef Saeng Douangdara accused Foodbeast of misrepresenting the culture. In a tense conversation about culture, the Katchup crew strived to learn more bout Lao cuisine, how its history connects to Thai-American food, and how lesser known cuisines can be better highlighted in media.  In this episode, we learn about the how Lao people came to the U.S., why they would hide their food under the "Thai" name, and what it has taken for the community to get exposure for its home cuisine.  --- Thank you all so much for listening! All the Tweets and Instagram tags of you listening mean the world. Reviews you leave on iTunes are also incredibly helpful, if you enjoyed an episode, please do drop us some love on the iTunes / Podcast store

A conversation with Mark Padoongpatt. Mark Padoongpatt has written on Thai-American foodways, Asian-American Suburbia, and is currently researching the history of Asian restaurant health inspections in the United States. Coral and Mark discuss the history of Asian migration to the suburbs, the impact of Asian-dominated strip malls, and who these public spaces really serve. He is a professor of Asian American Studies at University of Nevada Las Vegas. Look out for Mark’s forthcoming podcast on Asian Americans and Pacific Islanders in Las Vegas, called “Neon Pacific”! Meant To Be Eaten is powered by Simplecast.

Sitinee Sheffert and her husband are on a very unique family sabbatical, with a very clear goal. They recently sold their house in a Chicago suburb to spend 15 months testing out three cities: Park City, Utah; Austin, TX, and Denver, Colorado. Afterward, they’ll sit down as a family and decide where to live. Also – it’s important to note: They have 5 kids, ranging in age from 11 to 8 months. In this interview we talk about the logistics involved in an experiment like this, including how the Shefferts decided to downsize and to homeschool. We talk about the reasons why they decided to take this leap – including their desire for a less hectic pace of life and a stronger family bond. Sitinee also shares how her background as a Thai-American made the decision to move away from Chicago especially tough. Show notes at www.lisahoashi.com. Follow us! Lisa Hoashi: @lisahoashi. Join the Leap Like Me Community on Facebook. Theme music by Far Pines Music.

June has done and is doing a lot of amazing work around healing, art, and social justice. In this episode, she talks about the Spoken Word workshops, like "Culture and Identity" and "Redefining Masculinity Series," that she facilitates as well as a retreat, "Sisterhood Leadership Rising," for young women of color to help them write their own stories called. June reveals her story of growing up Thai-American, and connecting with her ancestors and their resiliency as she explores the question of how her ancestors healed themselves. She asks, "How is it that we can reawaken the tools within us to provide that support for one another?" June explores the connections between personal and social liberation, and how her new life coaching pursuit is part of being a healer in the social justice communities. June is passionate about art being central to all of the work that we do, and to challenge what it means to be an artist. I ask her about what liberation, justice and feminism mean to her. She feels strongly that the central component to it all is around Black Liberation.  Please consider supporting Real Feminist Stories Podcast with your dollars $$$$ at patreon.com/realfeministstories or go to realfeministstories.com and scroll down on the home page to make a donation! Thank you for your support! For the links to June's website, go to realfeministstories.com/podcast/june. *Intro and outro music by Eva Roberts

Please join us this afternoon as alumni and students in the University of California, Riverside Master of Fine Arts writing program come together and read from their work. Readers include David Campos, Deb Durham, Andy Holt, Ruth Nolan, Nicole Olweean and Alex Ratanapratum.David Campos is the author of Furious Dusk (University of Notre Dame Press 2015), winner of the 2014 Andres Montoya Poetry Prize. His poems have appeared in The American Poetry Review, Boxcar Poetry Review, Huizache, The Packinghouse Review, Verdad, and Miramar, among other journals and magazines. He is a Canto Mundo Fellow and lives in Fresno, California.   Deb Durham immigrated to California from the untamed cornfields of Southern Indiana for the sole purpose of writing nonfiction creatively. Her abiding obsessions include teen romance novels of the 1950's and her chihuahua Rockhudson. Andy Holt was born and raised on the Gulf Coast of Florida. As a result, his blood is mostly lemon-lime Gatorade. He is currently working on a crime novel set in the wilds of suburban Florida. Ruth Nolan, M.F.A., M.A., is a Mojave Desert/Coachella Valley-­based author and professor whose writing is grounded in the California desert, where she’s lived for most of her life, and is Professor of English and Creative Writing at College of the Desert. She is editor of the critically-acclaimed anthology, No Place for a Puritan: the Literature of California's Deserts, published by Heyday Books, Berkeley. She is writing a memoir about her work as a wildland firefighter in the California Desert District and Western U.S. for the BLM and USFS in the 1980’s. Her poetry, stories and essays have been published in Rattling Wall, Short Fiction Los Angeles (Red Hen Press 2016), New California Writing (Heyday), Women’s Studies Quarterly, the Sierra Club Desert Report, the Desert Oracle and many other publications. She blogs about life in the desert for KCET Artbound Los Angeles, Inlandia Literary Journeys, and Heyday, and leads writing andliterature seminars at the Desert Institute at Joshua Tree National Park and for many other colleges and organizations. She is a 2014 graduate of the UCR Low Residency Creative Writing and Creative Writing for the Performing Arts program.Nicole Olweean is a second year poet in UCR's MFA program. She is originally from Michigan, where many of the people and places that inspire her work still remain. Her work has appeared in Menacing Hedge and Bird's Thumb. Alex Ratanapratum is a Thai/American poet from Orange County, California. He received his B.A.s from CSULB in English Literature and Creative Writing and is in his second year at UCR. He has been a workshop leader for Cambodia's first literary journal Nou Hach in Phnom Penh, and his poems have been published in Rip Rap, Nou Hach, and The Asian American Literary Review.

Ira Sukrungruang was born to Thai parents newly arrived in the U.S., they picked his Jewish moniker out of a book of “American” names. In this lively, entertaining, and often hilarious memoir, he relates the early life of a first-generation Thai-American and his constant, often bumbling attempts to meet cultural and familial expectations while coping with the trials of growing up in 1980s America. Talk Thai is a richly told account that takes us into an immigrant’s world. Here is a story imbued with Thai influences and the sensibilities of an American upbringing, a story in which Ira practices English by reciting lines from TV sitcoms and struggles with the feeling of not belonging in either of his two worlds. For readers who delight in the writings of Amy Tan, Gish Jen, and other Asian-Americans, Talk Thai provides generous portions of a rich and ancient culture while telling the story of a modern American boyhood with humor, playfulness, and uncompromising honesty.

Ira Sukrungruang was born to Thai parents newly arrived in the U.S., they picked his Jewish moniker out of a book of “American” names. In this lively, entertaining, and often hilarious memoir, he relates the early life of a first-generation Thai-American and his constant, often bumbling attempts to meet cultural and familial expectations while coping with the trials of growing up in 1980s America. Talk Thai is a richly told account that takes us into an immigrant’s world. Here is a story imbued with Thai influences and the sensibilities of an American upbringing, a story in which Ira practices English by reciting lines from TV sitcoms and struggles with the feeling of not belonging in either of his two worlds. For readers who delight in the writings of Amy Tan, Gish Jen, and other Asian-Americans, Talk Thai provides generous portions of a rich and ancient culture while telling the story of a modern American boyhood with humor, playfulness, and uncompromising honesty.