Podcasts about Vox

Martes: lluvia y frío por borrasca, aviso rojo en Pontevedra. Acuerdo para regularizar migrantes con más de cinco meses en España, criticado por PP y Vox. Accidente de Adamuz: mala soldadura. Ceses en Rodalíes por incertidumbre. Francia avanza en prohibir redes sociales a menores de 15 y móviles en institutos. Europa limita envases monodosis (salsas/azúcar). "¡Buenos días, Javi y Mar!": oyentes relatan anécdotas del embarazo (pies, antojos, sueños, movilidad). Música: Bruno Mars prepara álbum/gira. Ana Mena celebra apoyo de Chris Martin ("Ídolos"). Taylor Swift al Salón de la Fama por sus letras. Suenan David Guetta, Morat, Kylie Minogue y lo nuevo de La Oreja de Van Gogh. Niños de Ximeno: peculiar visión sobre educación.

Rodalies reabre las líneas R1, R2 y parte de la R4. La investigación apunta a la soldadura como causa del descarrilamiento en Adamuz. El Gobierno pacta la regularización de medio millón de inmigrantes irregulares, con requisitos de cinco meses de estancia y documentación; PP y Vox alertan de un efecto llamada. Europa investiga a X por su IA Grok, que genera fotos explícitas de menores. Francia prohíbe redes sociales a menores de 15 años y planea vetar móviles en institutos. En '¡Buenos días, Javi y Mar!', hablan de chapuzas domésticas y de la preferencia por una buena distribución de grasa corporal sobre la musculatura en hombres. CADENA 100 ofrece la 'Encuesta Absurda' y la mejor música.

There's been a real rollback of one of the US government's most fundamental tasks: gathering data. Vox correspondents Dylan Scott and Umair Irfan take a look at what a future with less data means for climate and health care in the US. Guests: Vox correspondent Umair Irfan and Vox senior correspondent Dylan Scott For show transcripts, go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vox.com/unxtranscripts⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠For more, go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vox.com/unexplainable⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ And please email us! ⁠⁠⁠⁠⁠unexplainable@vox.com⁠⁠⁠⁠⁠ We read every email. Support Unexplainable (and get ad-free episodes) by becoming a Vox Member today: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vox.com/members⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Thank you! Learn more about your ad choices. Visit podcastchoices.com/adchoices

El accidente ferroviario de Adamuz tuvo como causa probable una rotura de vía, investigándose un posible defecto de fabricación. El ministro Puente defiende los controles, y Pedro Sánchez pide comparecer en el Congreso por presión de Feijóo. La borrasca Ingrid dejó nieve en el noroeste español, causando problemas viales y restricciones para camiones, aunque la DGT levantó algunas. Se anticipan más nevadas y vientos, con un breve respiro dominical antes del regreso del frío y la nieve. En Aragón, la campaña electoral inició, con partidos retrasando la pegada de carteles en luto por Adamuz. Encuestas prevén victoria del PP sin mayoría, subida de Vox y pérdida para el PSOE. Internacionalmente, Ucrania, Rusia y EEUU negocian la paz. En Venezuela, un vídeo revela que Delcy Rodríguez denunció amenazas de EEUU tras la captura de Maduro. Judicialmente, la fiscalía archivó el caso Julio Iglesias (acoso) por falta de jurisdicción, pero las denunciantes anuncian acciones. El hermano de Pedro ...

Donald Trump isn't one for clear policy objectives, but one of his top priorities, apparently, is making Greenland part of the United States–even at the expense of alienating our allies.Guest: Joshua Keating, senior correspondent at Vox covering foreign policy. Want more What Next? Subscribe to Slate Plus to access ad-free listening to the whole What Next family and across all your favorite Slate podcasts. Subscribe today on Apple Podcasts by clicking “Try Free” at the top of our show page. Sign up now at slate.com/whatnextplus to get access wherever you listen.Podcast production by Elena Schwartz, Paige Osburn, Anna Phillips, Madeline Ducharme, and Rob Gunther. Hosted on Acast. See acast.com/privacy for more information.

Donald Trump isn't one for clear policy objectives, but one of his top priorities, apparently, is making Greenland part of the United States–even at the expense of alienating our allies.Guest: Joshua Keating, senior correspondent at Vox covering foreign policy. Want more What Next? Subscribe to Slate Plus to access ad-free listening to the whole What Next family and across all your favorite Slate podcasts. Subscribe today on Apple Podcasts by clicking “Try Free” at the top of our show page. Sign up now at slate.com/whatnextplus to get access wherever you listen.Podcast production by Elena Schwartz, Paige Osburn, Anna Phillips, Madeline Ducharme, and Rob Gunther. Hosted on Acast. See acast.com/privacy for more information.

Donald Trump isn't one for clear policy objectives, but one of his top priorities, apparently, is making Greenland part of the United States–even at the expense of alienating our allies.Guest: Joshua Keating, senior correspondent at Vox covering foreign policy. Want more What Next? Subscribe to Slate Plus to access ad-free listening to the whole What Next family and across all your favorite Slate podcasts. Subscribe today on Apple Podcasts by clicking “Try Free” at the top of our show page. Sign up now at slate.com/whatnextplus to get access wherever you listen.Podcast production by Elena Schwartz, Paige Osburn, Anna Phillips, Madeline Ducharme, and Rob Gunther. Hosted on Acast. See acast.com/privacy for more information.

Vox se alia con la extrema izquierda para frenar una tímida apertura comercial entre la Unión Europea y Mercosur. Hosted on Acast. See acast.com/privacy for more information.

El periodista analiza en 'Herrera en COPE' la decisión de Feijóo de 'templar' a los más impulsivos y no seguir la estela de otros partidos como Vox o Junts

Hosts Cam Smith and Tyler Orton walk out to hip-hop entrance music as they tackle the third episode of Star Trek: Starfleet Academy, Vitus Reflux. From cadet sport competitions, to character chemistries and War College, the duo highlight what works and what didn't.   Join our Facebook page for exclusive content such as videos and bonus episodes. And you can also visit our blog, or follow us on Twitter and YouTube! Send any other questions, topic ideas or feedback to subspacetransmissionspod@gmail.com! Related Podcast Episodes: Why the Stakes in Star Trek Matter Strange New Worlds: "Through the Lens of Time"   Join us next time as we review episode four of Academy, Vox in Excelso!

First there was the Monroe Doctrine, now President Trump's foreign policy approach is being dubbed the “Donroe Doctrine.” Joshua Keating is a senior correspondent at Vox covering foreign policy and world news with a focus on the future of international conflict. He joins host Krys Boyd to discuss why Trump believes the U.S. has a right to intervene in global affairs across the Western hemisphere, how that differs from his campaign promises, and what this strategy looks like for the remainder of his term. His article is “What actually is the ‘Donroe Doctrine'?” Learn about your ad choices: dovetail.prx.org/ad-choices

  DON THE DREAM WALKER - 01.19.2026 - #908 BestPodcastintheMetaverse.com Canary Cry News Talk #908 - 01.19.2026 - Recorded Live to 1s and 0s Deconstructing World Events from a Biblical Worldview Declaring Jesus as Lord amidst the Fifth Generation War! CageRattlerCoffee.com SD/TC email Ike for discount https://CanaryCry.Support   Send address and shirt size updates to canarycrysupplydrop@gmail.com Join the Canary Cry Roundtable This Episode was Produced By:   Executive Producers Felicia D*** Sir Jamey Not the Lanister*** Sir LX Protocol Baron of the Berrean Protocol*** Kerry G***   Producers of TREASURE (CanaryCry.Support) Sir Darrin Knight of the Hungry Panda's, Cage Rattler Coffee   Producers of TIME Timestampers: Jade Bouncerson, Morgan E Clankoniphius Links: JAM   TODAY 5:23 Clip: Montage, Candace Owens "I had a dream" on CK (X)   RUSSIA 12:43 Clip: So much snow in Russia, ppl are jumping out of windows (X)  Footage of Russian snowdrifts, ai? (X)   DON LEMON 23:48 Clip: Don Lemon before the church invasion operation (X) Clip: Again, MAGA Coded (X) Don Lemon Church Raid (DailyMail) Clip: Don Lemon interviews the Pastor  DOJ to charge Don Lemon on KKK Act (Polymarket/X) Compare: MAGA calls for FACE act (Indy) Conservative outlets call it the "ku klux klan act" (Daily Caller) What is the FACE act Clip: Don Lemon admits to invading a church and traumatizing children  Clip: Don Lemon Responds   ALIENS/MONEY 1:22:06 Bank of England must plan for financial crisis triggered by aliens (The Times) → John Podesta in 2015 (Vox)   NICK FUENTES 1:53:32 Clip: Nick Fuentes gets 7 figure gold deal, "first sponsorship" (X)   EXECUTIVE PRODUCERS 2:07:50 TALENT/TIME  END 2:33:30

Have you ever noticed how slowing down can feel strangely uncomfortable—even when you know you need it? Or how taking a break can stir guilt instead of relief? In this episode, I'm joined by Israa Nasir, a psychotherapist, mental health educator, and founder of WellGuide, to explore the deeper psychology behind our relentless drive to stay busy. Drawing from her new book Toxic Productivity, Israa helps us unpack the hidden beliefs that link our worth to our output—and how to step out of that pressure without losing our sense of ambition. Israa's work bridges emotional well-being, modern life, and resilience-building, and she has been featured in NBC, Vox, HuffPost, Teen Vogue, and more. She has also been invited to speak at organizations including Mental Health America, Google, Meta, and Yale. Together, we talk about where toxic productivity comes from, how it quietly shapes our self-esteem, and what it looks like to redefine success in a way that supports your mental health. You'll also walk away with practical ways to slow down, reconnect with yourself, and build a relationship with productivity that feels grounded—not draining.

This episode features two conversations I had at CES as part of TRB Conversations, powered by EX.CO. First, a discussion with Vox Media CRO Geoff Schiller on the company's bet on talent-led franchises, and why podcasts have become the proving ground for individuals over institutions. Vox has leaned into shows like Pivot with Kara Swisher and Scott Galloway and A Touch More with Sue Bird and Megan Rapinoe, treating talent development less like scale media and more like a studio model. Then, a conversation with Mark Floreani, CEO of FloSports, on the rise of niche sports and the power of owning IP end to end—from registration and ticketing to broadcast and fan experience.

Un accidente de tren en Cataluña, entre Yélida y Sant Sadurní d'Anoia, causa la muerte del maquinista y al menos 15 heridos al chocar un cercanías contra un muro de contención caído por el temporal. La Generalitat y equipos de emergencia atienden la situación, con algunos afectados en estado grave. En Adamuz, Córdoba, el balance oficial del accidente ferroviario asciende a 42 fallecidos y 25 identificados. Los trabajos de rescate continúan con maquinaria de alta precisión para acceder a los vagones. Se revelan las llamadas del maquinista tras el siniestro, informando del descarrilamiento. El gobierno organiza un funeral de Estado. Expertos debaten sobre el mantenimiento de la infraestructura, mencionando un carril roto y la necesidad de un enfoque predictivo. En política, la Asamblea de Extremadura se constituye sin acuerdo entre PP y VOX, manteniendo la posibilidad de nuevas elecciones. Donald Trump evalúa su gestión, con un enfoque en Groenlandia y Venezuela. La profesora Ana ...

Guest: Marcus MachadoEpisode DescriptionGuitarist Marcus Machado joins host Steve Roby to discuss his journey from childhood prodigy to genre-blurring artist. Dubbed "the next young gun" by Rolling Stone, Machado has toured and recorded with Anderson Paak, Robert Glasper, and Jon Batiste, while his film scores have appeared in award-winning documentaries, including Mr. Soul and Apollo. In this episode, he shares stories about his early influences, his approach to blending rock, funk, hip hop, and jazz, and what audiences can expect from his upcoming intimate performances at SF Jazz. Featured Songs"Get By" – An instrumental track recorded during the pandemic, offering a message of hope and resilience during difficult times."Black Psychedelic Funk" – A spontaneous groove that started in Amsterdam in 2007-2008, featuring Daru Jones on drums and Jermaine Holmes (from D'Angelo and The Vanguard) on backing vocals.Episode HighlightsMarcus's incredible origin story: picking up a guitar at age 2, playing electric by age 4.His first musical memory: hearing Jimi Hendrix's "EXP" from Axis: Bold as Love.Performing "The Wind Cries Mary" at his kindergarten graduation.The influence of the Band of Gypsys as the first true funk-rock band.His philosophy of staying hungry and remaining a student of the guitar. Gear talk: analog pedals, Vox amps, Barons fuzz faces, and keeping it simpleWhat to expect from his intimate trio performances at SF JazzShow DetailsMarcus Machado at SFJAZZ Center – Joe Henderson LabDate: Thursday, January 22ndSets: 7:00 PM & 8:30 PMFeaturing: Uriah Duffy (bass) and Damon Jamal Taylor (drums) – all Bay Area musiciansTickets: https://www.sfjazz.org/tickets/productions/25-26/marcus-machado Limited edition vinyl available at the show, including Aquarius Purple and Blue Diamonds – each with a mystery color variant! LinksMarcus Machado's Website: https://www.marcusmachado.comBackstage Bay Area: https://www.backstagebayarea.comBackstage Bay Area is hosted by Steve Roby

God's Love is in plain sight all around us, yet it seems so obscure. We may feel orphaned from homes where we once experienced spiritual vitality. Coercion and condemnation have left us on the streets looking for a better way. In John's gospel, Jesus' first words are, “What are you looking for?” and they're followed by an invitation to “come and see.” We aren't given certainty or a system to sell. We are invited to experience a common and awe-inspiring grace as we abide with Jesus. Where do people find transforming grace at Vox? What particular ways are we invited to embody Divine grace and invite others to experience this sustaining grace with us?  On this third week of our series, Vanessa Maleare reflects on what makes invitations to grow and companion one another meaningful and transformative. Reflection Questions: Who has been a “friend to your heart”? What are you seeking/looking for? What do you need from your intimate connection with Jesus?

Vox, lead vocalist of Chameleons, discusses the group’s successful reformation and their latest album Arctic Moon. The conversation explores the Chameleons’ origins in Manchester’s late 1970s post-punk scene, their breakthrough John Peel session, and challenging relationships with CBS Records and producer Steve Lillywhite. Vox reflects on their early years and the tensions that led to the band’s original dissolution. Throughout, the conversation highlights the Chameleons’ status as one of the most influential guitar bands of the 1980s, whose atmospheric sound has cemented their legacy as Manchester’s most underrated musical export. Further information chameleonsband.com Chameleons podcast tracks Podcasts also available: Steve Diggle – Buzzcocks, David Gedge – The Wedding Present, Peter Perrett – The Only Ones, Andy Gill – Gang of Four, Barry Adamson – Magazine This podcast is also available on Apple Podcasts, YouTube, Spotify, Google apps and all usual platforms If you like what I do please support me on Ko-fi The post Vox – Chameleons appeared first on The Strange Brew .

Potential American military intervention in Iran amid ongoing protests and violence. The shooting death of a 37-year-old mother in Minneapolis at the hands of an ICE agent. A criminal investigation into the chair of the U.S. Federal Reserve.Astead Herndon is a podcast host and editorial coordinator with Vox. He breaks down another seismic week in American politics. Our colleagues in CBC's Washington bureau — Katie Simpson, Paul Hunter and Willy Lowry — have launched a brand new podcast, Two Blocks from the White House. It's American politics with Canadian context. Listen to this week's episode "Could America First mean Canada's next?" here.For transcripts of Front Burner, please visit: https://www.cbc.ca/radio/frontburner/transcripts

Se sabe desde Babilonia que la ciudad es odiosa. No en vano, Caín fundó la primera de todas ellas, y desde entonces la cosa no ha mejorado. O'Henry decía que Nueva York carecía de un solo alma, Dickens describió Londres como si fuera una porqueriza y Ósip Mandelstan definió Moscú como una ensalada de madera y vidrio. También hay tuiteros ingeniosos que llaman "Carcelona" a Barcelona y "Pudrid" a Madrid. Por supuesto hay quien fantasea con volver al pueblo, donde se guarecen las esencias de lo auténtico (la fiscalización, la endogamia, la autenticidad, la falta de trabajo). Y también quien echa en falta las ciudades de antaño, cuando los aguadores vendían embotellada el agua de las fuentes y los vecinos gritaban sus alegres "agua va" al arrojar por la ventana el contenido de los orinales; quizá el Madrid de Galdós no era tan brioso como parecía, y acaso los figones cochambrosos que frecuentaba el ciego Almudena los habría cerrado Santidad; bien pensado, por el cuchitril de Fortunata en la Cava de San Miguel hoy le pedirían un ojo de la cara. Por eso es de celebrar la guerra (la expresión bélica es suya) que la ministra Isabel Rodríguez, que ayer estuvo en esta santa casa, ha emprendido contra los pisos turísticos ilegales, quizá viendo que Carlos Hernández Quero, de Vox, le come la tostada en el extrarradio y en los barrios populares. Hasta Trump ha dicho algo parecido. Curiosos tiempos en que la derecha te adelanta por la izquierda. Alsina: en conclusión…Decía el castizo que la felicidad va por barrios. Quizá, en vez de enredarnos en sesudos debates sobre urbanismo, convendría recuperar la vieja urbanidad. No nos hagamos daño.

With Gable mortally wounded, they rally with Jonnit and Orimar in a brutal fight against the Vox, Persistensia Il Anima, to take control of the only airship out of the Feather Vault. Their fate is tied to the fate of the freed prisoners, including Christopher. Can they hold out with their depleted resources? CONTENT NOTE Main Show:  Fire, gunshots, impaling, scalding, body mutilation, drowning, flooding Dear Uhuru: No Dear Uhuru this week. COSMIC CENTURY KNIGHTS ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Get the game on Kickstarter!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join the mailing list for James' game design projects⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ OH CAPTAIN, MY CAPTAIN ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Order now!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Leave a review!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ THE ULTIMATE RPG PODCAST ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Listen Here!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ SKYJOUST FIGHT WITH SPIRIT EXPANSION ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Get it now!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ SKYJACKS: COURIER'S CALL IS BACK! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Listen on Spotify (or any other podcatcher app)!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ STARWHAL PUBLIC FEED: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Listen on Spotify (or any other podcatcher app)!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ JOIN OUR MAILING LIST ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Right Here!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Things in the news have been feeling kind of…bleak, so we called in some reinforcements. Vox's senior editorial director and resident good news expert Bryan Walsh joins editor Joanna Solotaroff to remind us that there's still a lot of good stuff happening, too. Guest: Vox senior editorial director Bryan Walsh. Sign up for the Good News newsletter HERE. For show transcripts, go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vox.com/unxtranscripts⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠For more, go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vox.com/unexplainable⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ And please email us! ⁠⁠⁠⁠⁠unexplainable@vox.com⁠⁠⁠⁠⁠ We read every email. Support Unexplainable (and get ad-free episodes) by becoming a Vox Member today: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vox.com/members⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Thank you! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Notes and Links to Timothy Welbeck's Work     Timothy Welbeck, Esq., is an affiliated faculty member in the Department of Africology and African American Studies, where he previously served as an Assistant Professor of Instruction. There he teaches an array of popular courses, including a course he developed entitled Kendrick Lamar and the Morale of the m.A.A.d city. More broadly, Timothy's scholarly work focuses on contemporary issues of racial identity in America, the intersection of racial classifications and the law in the American context, contemporary African American culture, and hip-hop as a microcosm of the Black experience. Timothy has also written several peer-reviewed journal articles including “We Have Come Into This House: The Black Church, Florida's Stop W.O.K.E., and the Fight to Teach Black History.” He also authored “Specter of Reform: The late Sen. Arlen Specter's Criminal Justice Reform, the Violent Crime Control and Law Enforcement Act of 1994, and its Role in Expanding the Modern Prison Industrial Complex,” explores the impact of the infamous 1994 Crime Bill in providing the infrastructure for mass incarceration within the United States. The research, funded by the Arlen Specter Center fellowship, examines how the federalization of criminal law, pursuant to the Commerce Clause, has led to expansive growth in federal law enforcement, imprisonment, and thus setting the foundation for the modern carceral state. Timothy's article “People's Instinctive Travels and the Paths to Rhythms: Hip-Hop's Continuation of the Enduring Tradition of African and African American Rhetorical Forms and Tropes,” examines hip-hop's continuation of centuries-old African cultural norms and aesthetic values. As an attorney, Timothy has long been an advocate for justice, using his legal expertise to defend society's most vulnerable individuals, including survivors of human trafficking, survivors of police brutality, and the indigent. He has also provided crisis management, guidance, and legal counsel to churches and nonprofit organizations across the globe. In that capacity, Timothy is the Chair of the Board of Directors for The Witness Foundation, and an Advisory Board member of For the Future Organization. Timothy has also served as the Civil Rights Attorney for the Philadelphia Chapter of Council on American-Islamic Relations (CAIR), where he defended the constitutionally protected civil rights and liberties of those who experience discrimination and harassment based on their faith, race, ethnicity, and/or national origin, particularly members of the Muslim community within Pennsylvania.  As a hip-hop artist, he has released four full length recordings, shared the stage with national and international acts (Janelle Monáe, Jidenna, EPMD, Dead Prez, and Immortal Technique), won songwriting contests (Session 1 Grand Prize in 2010 John Lennon Songwriting Contest), garnered high compliments from hip-hop legends, industry taste-makers (Sway) and record executives (VP of A&R at Def Jam, Lenny S).  His latest work, entitled ‘Trane of Thought, is a live recorded hip-hop album that melds songs from his first two albums the musical style of John Coltrane. Timothy presently serves as the Pastor of Formation and a Teaching Elder at Epiphany Church of Wilmington, bringing over twenty years of ministry experience. He fosters spiritual growth through expositional and topical preaching, community engagement, trainings, workshops and spiritual counseling. In his role, he equips Epiphany members to live out their faith practically in their communities and prepare others to do the same. Timothy's work as an attorney and scholar has allowed him to contribute to various media outlets, such as: Axios, BBC Radio 4, CBS, CNN, The Huffington Post, NBC, The New York Times, NPR, The Philadelphia Inquirer, REVOLT TV, The Washington Post, VOX, and 900 WURD AM. He has lectured nationally and internationally at esteemed institutions like: Magdalen College of Oxford University, Georgetown University, Swarthmore College, and provided invited keynote addresses at major corporations like 1Hotels, Campbell Soup, and Merrill Lynch. As a contributing writer, Timothy has bylines in The Huffington Post, The Philadelphia Inquirer, WHYY, and RESPECT Magazine.  He earned his J.D. from Villanova University Charles Widger School of Law and his B.A. from Morehouse College, where he graduated cum laude and was awarded the Corella and Bertrand Bonner Scholarship. Timothy finds his greatest joy and fulfillment at home with his wife and three children.     Timothy Welbeck's Website Video: “Kendrick Lamar and the Morale of m.A.A.d City Hiphop Course | Prof. Timothy Welbeck Explains”   Video Conversation with Georgette from XXL: “Inside the Kendrick Lamar College Course Created to Study His Lyrics and Life” At about 2:50, Timothy highlights some “surreal moments” in his hip hop career and advocacy At about 4:20, Timothy responds to Pete's question about declining or rising advocacy in contemporary hip-hop  At about 6:30, Timothy reflects on the balance between a democratization of hip hop and old models of record company control At about 9:05, Timothy talks about his reading background, including a Tim Follett read (!) and other formative works At about 12:10, Timothy talks about being a “late bloomer” in his hip hop exposure At about 13:25, Timothy cites Nas, Lauryn Hill, Blackstar, Outkast, The Roots as some of his favorite rappers and groups At about 14:45, Timothy talks about friends The Remnant and how they helped him to “understand the power of [his] own voice” At about 15:30, Timothy responds to Pete's question about how he listen to music now that he has written about and taught classes so extensively about hip hop  At about 17:00, Timothy breaks down his process for listening to music that he will be writing/teaching about  At about 17:50, Timothy explains the different ways of ordering Kendrick Lamar's albums/mixtapes, and expands on the class' contours  At about 20:30, Timothy talks about the class on Kendrick Lamar's seeds, calling it "serendipitous"  At about 23:10, Timothy talks about the class structure, including the foundation established at the beginning of the class At about 26:30, Timothy talks about how he goes about establishing Compton as an entity in itself, while at the same time showing its similarities to other casualties of government neglect and racism  At about 28:25, Timothy talks about the "compelling" way in which Kendrick Lamar is both popularly respected and critically-acclaimed  At about 31:55, Pete and Tim discuss an early Kendrick Lamar concert At about 32:25, Pete and Tim reflect on Kendrick Lamar's love of Black culture and for important music legends, particularly the way in which he featured titans on To Pimp a Butterfly At about 34:30, Tim describes the great insights  At about 36:05, Marcus J. Moore's The Butterfly Effect and Cole Cuchna and his Dissect Podcast are shouted out by Timothy as experts on Kendrick and his work, and DJ Head as well and Curtis King are highlighted as close colleagues of Kendrick's At about 38:00, Timothy shares some of his favorite bars from Kendrick Lamar At about 41:15, Pete and Timothy fanboy over Kendrick's verse on “Nosetalgia” and Timothy gives kudos to Cole Cuchna's breakdown of the numerology of the verse At about 42:10, Timothy talks about a few songs that might be best representative of Kendrick Lamar's music        You can now subscribe to the podcast on Apple Podcasts, and leave a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow Pete on IG, where he is @chillsatwillpodcast, or on Twitter, where he is @chillsatwillpo1. You can watch other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both the YouTube Channel and the podcast while you're checking out this episode.       Pete is very excited to have one or two podcast episodes per month featured on the website of Chicago Review of Books. The audio will be posted, along with a written interview culled from the audio. His conversation with Jeff Pearlman, a recent guest, will be up at Chicago Review in the next week or so.     Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl      Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting Pete's one-man show, DIY podcast and extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content!    This month's Patreon bonus episode features an exploration of children's literature on standout writers from the show, including Robert Jones, Jr. and Javier Zamora, as well as Pete's cherished relationship with Levar Burton, Reading Rainbow, and libraries.    Pete has added a $1 a month tier for “Well-Wishers” and Cheerleaders of the Show.     This is a passion project, a DIY operation, and Pete would love for your help in promoting what he's convinced is a unique and spirited look at an often-ignored art form.    The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.     Please tune in for Episode 319 with Farah Ali, writer of the novel The River, The Town, and the short story collection People Want to Live. Her fiction has been anthologized in Best Small Fictions and the Pushcart Prize where it has also received special mention. She is the cofounder of Lakeer, a digital space for writing from Pakistan, and reviews editor at Wasafiri. Her novel Telegraphy is out on January 16, from CB editions, and the episode airs on Pub Day.    Please go to ceasefiretoday.org, and/or https://act.uscpr.org/a/letaidin to call your congresspeople and demand an end to the forced famine and destruction of Gaza and the Gazan people.  

Aragón emerge como el epicentro político español, con elecciones cruciales el 8 de febrero. Esta comunidad, sin mayorías absolutas históricas, ve una sobrerrepresentación de Huesca y Teruel frente a Zaragoza. El PP y VOX anticipan buenos resultados, pero un multipartidismo diversifica las opciones de gobierno. El PSOE experimenta un notable deterioro, marcado por su candidata, divisiones internas y un acuerdo de financiación que perjudica a la región, penalizando variables territoriales clave. El gobierno aragonés considera esta financiación un 'agravio brutal', mientras Núñez Feijóo reúne a líderes del PP en Zaragoza para presentar una alternativa, previendo una campaña electoral intensa desde el 23 de enero. En Orense, agricultores y ganaderos protestan contra el inminente acuerdo entre la UE y Mercosur, que se firma este sábado en Asunción. Aunque este tratado crea la mayor zona de libre comercio mundial, genera una competencia desleal para el sector primario europeo debido a los ...

The Trump administration has a warning for student loan borrowers in default: Pay up, or we'll take it out of your paycheck. This episode was produced by Hady Mawajdeh and Kelli Wessinger, edited by Jolie Myers, fact checked by Andrea López-Cruzado, engineered by Patrick Boyd and David Tatisciore, and hosted by Noel King. Image by Hokyoung Kim for Vox. Listen to Today, Explained ad-free by becoming a Vox Member: vox.com/members. New Vox members get $20 off their membership right now. Transcript at ⁠vox.com/today-explained-podcast.⁠ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Since Russia launched its full-scale invasion of Ukraine, it has also escalated a shadow war against the West. Using cyberattacks, destruction of property, arson, assassinations, and information operations, Russian agents sow chaos and fear, while probing and testing capabilities and responses in the event of a broader full-scale war. In a wide-ranging conversation, host Bakhti Nishanov talks to shadow war and energy expert Benjamin Schmitt about his experiences tracking Russia's sabotage attempts across the globe. They delve into Schmitt's quest to show the world how Russia's actions affect the lives and livelihoods of people throughout the West, a journey that has taken him from Chile to the Arctic to the Baltic Sea and beyond.  Read "Underwater Mayhem: Countering Threats to Energy and Critical Infrastructure Across the NATO Alliance and Beyond," here: https://kleinmanenergy.upenn.edu/research/publications/subsea-sabotage-protecting-energy-infrastructure-from-hostile-aggression/  --- Benjamin L. Schmitt is a senior fellow at the University of Pennsylvania, where he holds a joint academic appointment with the Department of Physics and Astronomy and the Kleinman Center for Energy Policy. He is also a senior fellow and the director of the graduate program at Perry World House. At Penn, Schmitt focuses on the project development and field deployment of the Simons Observatory, a new set of experimental cosmology telescopes and energy support infrastructure under construction at a high-altitude site in the Atacama Desert in northern Chile. In his joint role at Penn, he also pursues research and teaching with the Kleinman Center related to European energy security, critical infrastructure protection, export controls policies, and modern sanctions regimes. At Perry World House, Schmitt focuses on national security analysis focused on the transatlantic community and the Indo-Pacific, as well as emerging space security challenges. Previously, Schmitt was a research associate and project development scientist at the Harvard-Smithsonian Center for Astrophysics, where he supported the technical design, project management, and deployment of novel instrumentation and infrastructure for next-generation experimental cosmology telescopes at the South Pole. For this work, he traveled to the Amundsen-Scott South Pole Station in Antarctica in early 2020 and received the U.S. Antarctica Service Medal. Schmitt remains an affiliate of the Harvard-Smithsonian Center for Astrophysics and is also an associate of the Harvard-Ukrainian Research Institute. Schmitt is a term member of the Council on Foreign Relations. He is co-founder of the Duke Space Diplomacy Lab, where he is also a fellow of Duke's Rethinking Diplomacy Program. Schmitt is also a senior fellow for Democratic Resilience at the Center for European Policy Analysis (CEPA). Previously, Schmitt served as European energy security advisor at the U.S. Department of State, where he advanced diplomatic engagement vital to the energy and national security interests of the transatlantic community, with a focus on supporting the resilience of NATO's eastern flank and Ukraine in the face of Russian malign energy activities. Schmitt has been an invited lecturer on energy, national security, and science policy at Harvard, Princeton, Stanford, Morgan Stanley Investment Management, the National Defense University, and more. He also regularly publishes in Foreign Policy, The Daily Beast, Newsweek, The Hill, Atlantic Council, and Harvard International Review. Schmitt regularly provides expert commentary for print, television, and radio, including The New York Times, The Washington Post, The Wall Street Journal, Foreign Policy, NPR's Marketplace, BBC World Service, Slate, Vox, The Sunday Telegraph, Voice of America, Deutsche Welle, Bild Zeitung, Handelsblatt, and the Kyiv Post. Schmitt is a past recipient of the Government of Poland's Amicus Poloniae Award, has been honored as "Ukraine's Friend of the Week" by the Kyiv Post, and has received both Superior and Meritorious Honor Awards from the U.S. Department of State. Before entering government, Schmitt served as a NASA Space Technology Research Fellow while pursuing doctoral research in experimental cosmology at the University of Pennsylvania. For this work, Schmitt received both M.A. and Ph.D. degrees in experimental physics from the University of Pennsylvania. Schmitt has also previously served as a U.S. Fulbright Research Fellow to the Max-Planck-Institute for Nuclear Physics in Heidelberg, Germany. Schmitt is an Eastman School of Music trained classical vocalist with multiple leading operatic roles and solo concert performances on his resume. He is also a member of the United States Golf Association. Schmitt is a proud native of Rochester, New York. He resides in Philadelphia, Pennsylvania. --- This podcast is hosted by Bakhti Nishanov and produced by Alanna Novetsky, in conjunction with the Senate Recording Studio.

Why is it so hard for America to build things? Bridges take years to construct. Housing costs are soaring. Transit systems are crumbling. And we're struggling to update our infrastructure to prepare for the climate crisis. Even when there's broad agreement that something needs to be done, collective action feels impossible. Why is that? Today's guest is Marc Dunkelman, author of Why Nothing Works, a book about the modern American experience of watching government fail. He argues that by giving too many people the power to say “no,” we've stymied our collective progress. Marc and Sean discuss an inherent tension in American politics: the need for effective, centralized power and a deep fear of its abuse. They trace how that tension has played out across American history, from the clashes between Jefferson and Hamilton, through the New Deal's Tennessee Valley Authority, to the backlash against figures like Robert Moses. Marc argues that our current system — born out of a reaction to too much top-down authority during the late 20th century — has produced paralysis, dysfunction, and a deep distrust of government. Host: Sean Illing (@SeanIlling) Guest: Guest: Marc Dunkelman (@MarcDunkelman), author of Why Nothing Works: Who Killed Progress — and How to Bring It Back. We would love to hear from you. To tell us what you thought of this episode, email us at thegrayarea@vox.com or leave us a voicemail at 1-800-214-5749. Your comments and questions help us make a better show. And you can watch new episodes of The Gray Area on YouTube.Listen to The Gray Area ad-free by becoming a Vox Member: vox.com/members This episode was supported by a grant from Arnold Ventures. Vox had full discretion over the content of this reporting. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Parents are supposed to provide the best life possible for their kids, right? But what does that mean when genetic testing for the baby enters the picture? And how far should they go? Vox senior reporter Sigal Samuel received that ethically ambiguous question for her advice column Your Mileage May Vary  from a parent-to-be, and in this episode walks Noam through her thinking using a philosophical framework. For show transcripts, go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vox.com/unxtranscripts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ For more, go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vox.com/unexplainable⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ And please email us! ⁠⁠⁠unexplainable@vox.com⁠⁠⁠ We read every email. Support Unexplainable (and get ad-free episodes) by becoming a Vox Member today: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vox.com/members⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Thank you! Learn more about your ad choices. Visit podcastchoices.com/adchoices

January is a time many commit to reevaluating their relationships with alcohol. Vox correspondent Allie Volpe talks about what's come to be known as Dry January, and listeners check in with us about their alcohol-free first month of 2026.→  Even Better's Guide to Drinking Less | Vox

Federico analiza las nuevas encuestas con un PSOE de nuevo en mínimos y un Vox que no deja de crecer acercando a la derecha a los 210 diputados.

God's Love is in plain sight all around us, yet it seems so obscure. We may feel orphaned from homes where we once experienced spiritual vitality. Coercion and condemnation have left us on the streets looking for a better way. In John's gospel, Jesus' first words are, “What are you looking for?” and they're followed by an invitation to “come and see.” We aren't given certainty or a system to sell. We are invited to experience a common and awe-inspiring grace as we abide with Jesus. Where do people find transforming grace at Vox? What particular ways are we invited to embody Divine grace and invite others to experience this sustaining grace with us?  In this second week of our series, Eric Robinson looks at how the early believers were scattered across the Mediterranean to different cultures and how God's grace was powerfully present as they realized God was not static, but rather widening circles of mercy and belonging. Reflection Questions: What are the signs marking your journey? Wher is the last time you saw one? Who are the bicultural people in your life who might have seen the markers you missed?

This week we're so lucky to be featuring the first episode of Stories Told Again! Their first campaign Redrawn has just recently wrapped their first season, and I've personally enjoyed every episode. I can't recommend this show highly enough. Neon Heat will be back shortly!-------Let's begin again, for the last time-------Follow us on Instagram @storiestoldagainFollow us on TikTok @toldagainpodFollow us on Bluesky @storiestoldagain.bsky.socialJoin our community Discord hereDM is Austin Baacke (@austinbee15)Liv is Tiffany Liu Veprinski (@tiffanyliuveprinski)Luce is Tookiguess (@tookiguess)Pastiche is Geoff Barry (@teh_elderbarry)Vox is Rayne Eldridge (@therapyfrog) Edited by Jess the Cleaver and Rayne EldridgeMastering and Scoring by Tiffany Liu VeprinskiWebsite and Social Media by Chelsie LuiTranscription by Kieran WrightCover Art by Beelzebun Harebinger (@Beelzebun)

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

Young women, more than any other group, say they would leave America. Their list of reasons is long and plentiful. Have you ever thought about leaving the US, and starting over somewhere else? Maybe living the hygge lifestyle in Denmark, or soaking up the sun in Costa Rica? According to Gallup – a surprising number of women are considering it. In a poll released in November, 40% of women between the ages of 18 and 44 said they'd move to another country permanently if they had the chance. That's four times higher than it was a decade ago – and this sentiment among women is unique to the US. But what's behind young women's willingness to imagine life elsewhere? And what does that say about the future of this country? Brittany breaks it all down with Constance Grady, senior correspondent for Vox's culture team who covers gender, and Scaachi Koul, senior writer at Slate and co-host of the BBC podcast Where to be a Woman.Support Public Media. Join NPR Plus.Follow Brittany Luse on Instagram: @bmluseFor handpicked podcast recommendations every week, subscribe to NPR's Pod Club newsletter at npr.org/podclub.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

 One way to understand the intelligence of a species is if they can feel pain. Marina Bolotnikova, Deputy Editor for Vox's Future Perfect, joins host Krys Boyd to discuss how scientists are coming to the conclusion that fish feel pain, why it's so difficult to observe them in their natural environment and compare their nervous systems to that of a human's, and why this study new information has deep ethical implications. Her article is “The surprisingly profound debate over whether fish feel pain.”  Learn about your ad choices: dovetail.prx.org/ad-choices

This episode is the result of years of listener requests: how did dating get SO bad, and how can we possibly make it better? Melody and I have been out of the dating game for a hot minute, but we knew that the combination of your excellent questions + an excellent co-host [Jonquilyn Hill, host of Vox's Explain It All who is, importantly, currently dating] + sociological discussion of how dating has historically functioned (and why it no longer functions that way) could lead us to something that manages to be at once cathartic and hopeful (and educational for anyone who hasn't tried to date in the last decade). We answer your questions on "informational intimacy," how long is too long to chat (before setting an actual date), optimization culture, and whether or not it's weird for someone to run your Hinge account (I LOVE THIS QUESTION).....plus bonus content on how to actually meet people off the apps. You don't have to be dating to love this episode, but if you are — let's go after it in the comments. AND GREAT NEWS: WE HAVE VERY GOOD EPISODE TRANSCRIPTS NOW! They come out within 24 hours of the pod, so you just have to be a little patient and then come back and click here. We pay an actual human for help with these, so thank you for either being a paid subscriber or listening to the ads that make this model possible!If you're a paid subscriber and haven't yet set up your subscriber RSS feed in your podcast player, here's the EXTREMELY easy how-to .And if you're having any other issues with your Patreon subscription — please get in touch! Email me at annehelenpetersen @ gmail OR submit a request to Patreon Support. Thank you for making the switch with us — the podcast in particular is much more at home here!Thanks to the Sponsors of Today's Episode!Stop putting off those doctors appointments and go to Zocdoc.com/CULTURE to find and instantly book a doctor you love todayIf you're in the market for a new sofa, dining table, bed, or filing cabinet, peruse the beautiful and long-lasting offerings at Article.comGet 15% off your first order of Pre-Alcohol at zbiotics.com/CULTURESTUDY using code CULTURESTUDY at checkoutGet 50% off your purchase of a new night guard at shopremi.com/CULTURE, using code CULTUREShow Notes:Follow Jonquilyn on Instagram hereYou can find all episodes of Explain It To Me hereListen to Jonquilyn's episode of Explain It To Me on Cuffing SeasonMelody found this super-interesting article: Men Are Just As Picky As Women About Who They'd Date—If They're the Ones Being PursuedJonquilyn mentions the Netflix show THE LATER DATERSI mention my interview with sociologist Corinne Low re: figuring out what you actually want in terms of a future life (before finding a partner) We're currently looking for your questions for future episodes about:New trends you've noticed in the world of MOMFLUENCERS How we think about the morality of money and taxes — who should pay taxes, who shouldn't, who "deserves" money, who doesn't, how we came to decide that religious organizations shouldn't pay taxes (and how that belief is changing), SO MUCHHow to process all the STUFF accumulated from relatives (we have a really helpful organizer with a bunch of mental health training for this one!)The State of The CHAIN RESTAURANT — and chain restaurant supply chain!!! (I'm so excited for this one)Wedding culture!!For our next Culture Of Place: Puerto Rico!Anything you need advice or want musings on for the AAA segment. You can ask about anything, it's literally the name of the segmentAs always, you can submit your questions (and ideas for future eps) hereFor this week's discussion: Tell us your dating frustrations! What's changed, what annoys you, what strategies have worked?

Matthew Yglesias has been a disrupter his entire career. He started as an early adapter to the web, running a blog before blogs were a thing. He went on to co-found the media company Vox and has written all over the internet. He joins host Megan McArdle to discuss their career trajectories and how the internet has changed both media and politics. Subscribe to The Washington Post here.

En Venezuela no ha habido un cambio de régimen. Estados Unidos, después de capturar a Maduro y sacarlo del país, ha exigido que Caracas le ceda el timón y ha avalado a Delcy Rodríguez como presidenta en funciones. La situación deja al resto de países ante un dilema: denunciar que se ha violado el Derecho Internacional y, al mismo tiempo, hablar con quien controla de facto Caracas, aunque no tenga plena legitimidad democrática. En España, esa tensión atraviesa a todos los partidos. En este episodio, Ana Fuentes conversa con Miguel González, periodista de EL PAÍS que cubre política exterior y la información de VOX, para enumerar las contradicciones y debates de cada formación política. CRÉDITOS: Presenta: Ana Fuentes Con información de: Miguel González Realización: Ana Fuentes, José Juan Morales y Víctor Rojo Diseño de sonido: Nacho Taboada Coordinación: José Juan Morales Dirección: Ana Alonso Sintonía: Jorge Magaz Si tienes quejas, dudas o sugerencias, escribe a defensora@elpais.es o manda un audio a +34 649362138 (no atiende llamadas).Disponible en todas las plataformas de podcast: Podium Podcast | Podimo | Spotify | Apple Podcasts | iVoox | Podcasts de Google | Amazon Music | Alexa | RSS Feed

Mediante una ouija, don Virginiano le dice a su sobrino nieto que no quiere volver a verlo. En Fenómenos Paranormales también nos hacemos eco de la reivindicación de Vox de El chico de la curva.

Mediante una ouija, don Virginiano le dice a su sobrino nieto que no quiere volver a verlo. En Fenómenos Paranormales también nos hacemos eco de la reivindicación de Vox de El chico de la curva.

Venezuela inicia una transición tras la caída de Maduro. Delcy Rodríguez asume un liderazgo interino bajo la tutela de Estados Unidos, enfocado en intereses geopolíticos y el control del petróleo frente a potencias como China. Esta situación, compleja por el legado chavista, genera esperanza pero también incertidumbre, con comparaciones a la larga transición española. Maduro enfrenta graves cargos por narcoterrorismo. En España, los datos de empleo de diciembre de 2025 son positivos anualmente, aunque muestran una desaceleración y contratos de baja calidad. El PP y Vox experimentan un ascenso en las encuestas. Se discute la importancia del ahorro individual para la jubilación frente a un sistema de pensiones incierto. La acción en Venezuela reabre el debate internacional sobre el derecho y la primacía de los intereses nacionales de Estados Unidos. Europa se ve desafiada en un contexto global donde la ley del más fuerte se impone, lo que exige revisar su política de defensa y ...

God's Love is in plain sight all around us, yet it seems so obscure. We may feel orphaned from homes where we once experienced spiritual vitality. Coercion and condemnation have left us on the streets looking for a better way. In John's gospel, Jesus' first words are, “What are you looking for?” and they're followed by an invitation to “come and see.” We aren't given certainty or a system to sell. We are invited to experience a common and awe-inspiring grace as we abide with Jesus. Where do people find transforming grace at Vox? What particular ways are we invited to embody Divine grace and invite others to experience this sustaining grace with us?  In this first week of our new series, Christopher wonders what it means for each of us to experience Vox a voice of grace in our lives and world. Reflection Questions: When have you experienced grace in a startling and deeply needed way in your life? Where in your life or in your world do you long to see grace upon grace embodied in the new year? How are you being invited to see and participate in grace this new year?

As you start the New Year, we wanted to bring you an episode from our friends at Vox’s podcast Unexplainable that we think you’ll like. It’s about a scientific mystery and with a Puerto Rican astronomer at the center of it all. Wanda Diáz-Merced lost her sight as a college student, she thought her dreams of becoming an astronomer were over — until she learned to listen to space instead. Unexplainable takes listeners right up to the edge of what we know...and then keeps on going. For more go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vox.com/unexplainable⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Latino USA is the longest-running news and culture radio program in the U.S., centering Latino stories and hosted by Pulitzer Prize-winning journalist Maria Hinojosa. Follow the show to get every episode. Want to support our independent journalism? Join Futuro+ for exclusive episodes, sneak peeks and behind-the-scenes chisme on Latino USA and all our podcasts. Follow us on TikTok and YouTube. Subscribe to our newsletter. See omnystudio.com/listener for privacy information.

New laws are taking effect across the country on Jan. 1. In Hawai'i, there is now a new tax on tourists that will fund efforts to fight climate change. And in Utah, a new law took effect that restricts some people with drunk driving convictions from purchasing alcohol. The Associated Press' David Lieb breaks down some trends in state laws.And, Zohran Mamdani is now officially the mayor of New York City. He took the oath of office shortly after midnight on Jan. 1. Vox host Astead Herndon interviewed Mamdani days before his inauguration, and joins us to talk about Mamdani's policies and how he may influence the Democratic Party.Then, piano bar pianist Jesse Rifkin explains what popularly requested songs say about the state of our politics.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

New York City's Democratic socialist mayor takes office on January 1. Can he follow through on all those campaign promises? We ask him. This episode was produced by Ariana Aspuru and Peter Balonon-Rosen, edited by Miranda Kennedy, fact-checked by Danielle Hewitt and Laura Bullard, engineered by Patrick Boyd and David Tatasciore, and hosted by Astead Herndon.
 Photo of Mayor-elect Zohran Mamdani by Spencer Platt/Getty Images. Listen to Today, Explained ad-free by becoming a Vox Member: vox.com/members. You will get access to Vox's Patreon account where you can get watch the full video of the interview with Mayor-elect Mamdani right now. If you're already a Vox Member, check your email to set up your complimentary Patreon account. Transcript at ⁠vox.com/today-explained-podcast.⁠ Learn more about your ad choices. Visit podcastchoices.com/adchoices

We’re bringing you something special this week in place of our usual daily show. Every day, we are making one of the stories that listeners loved this year free for everyone. Below is an excerpt from The Highlight by Vox on why Americans are moving in with strangers twice their age, written by Rachel Cohen and narrated by Jaime Lamchick for Apple News+.

This year Abundance went from a bestselling book to a political practice powering Democrats from New York to Seattle. This story was supported by a grant from Arnold Ventures. Vox had full discretion over the content of this reporting. This episode was produced by Miles Bryan, edited by Amina Al-Sadi, fact-checked by Laura Bullard, engineered by David Tatasciore and Patrick Boyd, and hosted by Astead Herndon. Suburban houses in Elmont, New York. Photo by John Keating/Newsday RM via Getty Images. Listen to Today, Explained ad-free by becoming a Vox Member: vox.com/members. New Vox members get $20 off their membership right now. Transcript at ⁠vox.com/today-explained-podcast.⁠ Learn more about your ad choices. Visit podcastchoices.com/adchoices

It's not always the most wonderful time of the year. Every December, we're told to be merry and stay positive. But a lot of us don't feel that way. And when we don't, the pressure to be happy makes everything worse. Sadness feels like failure. Grief feels like a personal mistake. Depression becomes something to hide. But what if dark moods aren't problems to fix? What if they're part of being human? Today's guest is philosopher Mariana Alessandri, author of Night Vision, a book about how to honor the emotions we usually try to outrun. It's not a celebration of sadness, but Alessandri calls bullshit on the culture of toxic positivity and the idea that happiness is something we're supposed to choose on command. Sean and Mariana talk about why Americans are addicted to the light, why “cheering people up” often backfires, how Stoicism shaped our emotional habits, and what it looks like to sit with grief instead of shaming ourselves for feeling it. Host: Sean Illing (@SeanIlling) Guest: Mariana Alessandri (@mariana.alessandri), associate professor of philosophy at the University of Texas-Rio Grande Valley and author of Night Vision: Seeing Ourselves Through Dark Moods. We would love to hear from you. To tell us what you thought of this episode, email us at thegrayarea@vox.com or leave us a voicemail at 1-800-214-5749. Your comments and questions help us make a better show. And you can watch new episodes of The Gray Area on YouTube. Listen to The Gray Area ad-free by becoming a Vox Member: vox.com/members. This holiday season, your membership goes further: when you join Vox as an annual Member, we'll gift a free membership to a reader who can't afford it. By joining today, you'll get 30% off for an annual membership, and we'll match your membership. And if you can't afford it, visit that same link to apply for a free membership through our gift program. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Our brain constructs the world we hear, see, and feel — but tinnitus shows how that superpower can backfire. This episode is made in collaboration with Vox's Unexplainable. Hear their series on sound here. This episode was produced by Avishay Artsy, edited by Jenny Lawton, fact-checked by Melissa Hirsch, engineered by David Tatasciore, and hosted by Jonquilyn Hill. Photo by Astrid Stawiarz/Getty Images for the Hearing Health Foundation.  If you have a question, give us a call on 1-800-618-8545 or send us a note here. Listen to Explain It to Me ad-free by becoming a Vox Member: vox.com/members.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Our brain constructs the world we hear, see, and feel — but tinnitus shows how that superpower can backfire. This episode is made in collaboration with Vox's Unexplainable. Hear their series on sound here. This episode was produced by Avishay Artsy, edited by Jenny Lawton, fact-checked by Melissa Hirsch, engineered by David Tatasciore, and hosted by Jonquilyn Hill. Photo by Astrid Stawiarz/Getty Images for the Hearing Health Foundation.  If you have a question, give us a call on 1-800-618-8545 or send us a note here. Listen to Explain It to Me ad-free by becoming a Vox Member: vox.com/members.  Learn more about your ad choices. Visit podcastchoices.com/adchoices