Anne Ishii grew up translating for her Korean and Japanese parents. Her parents didn’t speak English so she spoke for them. This role as a speaker for others has had an impact on her life, making her a confident public speaker who doesn’t get stage fright (well, ok, she gets nervous but that turns to excitement instead of fright, she said). In her career as a community arts leader in Chinatown, she is often asked to speak about issues important to her community. Early during the Covid pandemic, when “Asian hate” reared its ugly head, Anne was especially busy answering 30 requests for interviews. She’s been in Philadelphia around 4 years and loves the city, comparing it to a bicycle — a beautiful, useful object. You put in, and you get back. Anne is very excited about her new gig as the host of “Movers and Makers,” which is now in its fourth season. (See new episodes here.) And she’s also excited about the upcoming season of art events at AAI, which includes a live seed exchange on Feb. 22 and a new exhibition, Eco/Systems, opening Mar. 4, 2022.
You can listen to Artblog Radio on Apple Podcasts and Spotify; as a text transcription in this post (below); and as a video – here, or on Youtube. Thank you to Kyle McKay for composing Artblog Radio’s original podcast intro and outro!
Links
- About Anne Ishii
- Asian Arts Initiative
- Movers & Makers on WHYY
- Movers & Makers on Instagram
- Anne Ishii’s Newsletter – Letters from Annie
- Frank Rizzo Mural being overpainted
- WHYY on Anne Ishii Anne Ishii on her roles as writer, advocate, and now, host of WHYY-TV’s ‘Movers & Makers’
Video
Transcription
[00:00:12] Roberta Fallon: Hi, everyone. Welcome to another episode of Artblog Radio! I’m Roberta. And today I’m very excited to be talking with writer, editor, translator, and Executive Director of Asian Arts Initiative, Anne Ishii. Hi Anne!
[00:00:27] Anne Ishii: Hi, Roberta!
[00:00:29] Roberta: How are you?
[00:00:30] Anne Ishii: Good. I’m really happy to be here talking to you.
[00:00:32] Roberta: I’m so happy that you’re here. I’m very excited. In addition to Anne’s other roles, she just added another one. She’s the new host of the local TV show, “Movers and Makers” on WHYY PBS. And we’re hoping to hear about all Anne’s various roles, but let’s start with TV!
[00:00:53] Anne Ishii: Yeah! (laughs)
[00:00:55] Roberta: (Laughing) Okay! This is a quote from you about the show.
“Movers and makers…”– and this is for people that may not be familiar with Movers and Makers– “… Movers and Makers demonstrates the kind of documentary storyteller that public media is so profoundly good at: …” (colon), “… The paramount local voice. It has a unique ability and a charge to tell stories about cultural producers who work right in our backyard.”
So the three things I underlined in that quote were, uh, marvelous, uh, word choices, “paramount local voice,” which I love, um, “the charge to tell stories,” which I also love and “right in our own backyard.” Um, so do you want to talk about them, in no particular order?
Like, the “paramount local voices,” what, what do you think? What, what is the mission here?
[00:01:53] Anne Ishii: Yeah. I know that for Philadelphians, especially born and raised, you know, deep Philly natives, um, it is not lost on us that there’s just so much amazing culture taking place in the region. That best serves the actual people in the region. Right? Um, we’re not like a huge cultural export economy. I mean, we can be, and that has happened, but it’s the joy and the beauty and the benefit of that culture really is to the community first.
So I do think it’s really important that the reporting and the, sort of the honoring and the uplifting, the, the celebration of that voice comes most profoundly from within and from, from the local, from the local curators and the local producers, the local reporters and writers. So that’s something that comes through really strongly for me when I work with these producers, um, each of them has a really profound connection to the story that they’re telling, because they’re from here.
Um, you know, it’s not like a, national news crews coming through, or… Also that sort of responsibility changes because this is, you know, this is public documentary media. It’s not, um, it’s not news, you know, the job isn’t to report something in the moment it’s to reflect on some amazing things that have been happening, right?
And who better to do that then your like… than the person on the ground.
[00:03:42] Roberta: I think so too. I really agree with that. And telling stories is really a good way to deliver- if not news, and I think there’s always news that gets discussed and dropped into a conversation, no matter whether it’s audio, or written, or TV, there’s “newsy”…
[00:04:02] Anne Ishii: Yeah.
[00:04:03] Roberta: … stuff in there. So the charge to tell the stories that you talk about, I’m interested in the kind of stories that you want to tell.
I mean, it’s an arts and culture focused program, but within that, what, what do you think, what, what are you hoping to cover or what are you covering? I think the first season has dropped, right?
[00:04:22] Anne Ishii: Yeah! Oh yeah, storytelling is my favorite aspect of this work that I like to talk about. And today’s first episode is going to be in Arden, Delaware. Uh, we’ll be talking to some folks who live in the artists’ colony out there. It’s a really, really interesting living model. I think, you know… I see a lot of communities today working in co-ops and mutual aid contexts, and this is sort of the early version of that, uh, where it kind of translates into a larger community ecosystem. But it is based on arts practice, right? They are definitely artists colonies first.
But like, so storytelling, actually– just to like zoom out a little bit– I think is very different from writing history or telling news. So this goes back to my real belief that information has to be communicated in a variety of ways. Like, I need news to know what’s going on in the moment. I need history to have this other perspective, you know, on how we tie into the world. But storytelling is, at the end of the- at the end of it, really a direct way for us to connect people to people.
And you really only tell stories to people you want to be friends with. I mean, it is an act of friendship and connection. So what I love about storytelling, it you know, it is very distinct from, um, it, it’s a very distinct form of information that I think is just… comes in with a spirit of friendship, so.
Actually that’s really appropriate for today’s episode because it really begins with like: well what’s what does community look like? How do we connect? And that’s largely what these episodes are, um, it’s this real, this innate desire in the region to connect to other people, right?
So I think today, like to add to that, a lens of just, um, our responsibility as cultural sort of, shepherds? Maybe not leaders per se, but just as people who keep our ear to what’s going on, it’s our responsibility to keep telling these stories so that more people get connected. Because there are a lot of people who are disconnected, right?
I mean, I think one thing I want to bring to, to the, to the show is: you know, is it possible that they’re stories that haven’t been told yet? I mean, this, this aspect of the stories being in our own backyards, um, another thing I know Philadelphians will really understand is this idea that like, actually there’s a lot of great stuff happening and it’s both because people aren’t paying attention to us, and because we don’t need you to validate what’s going on, that it thrives in this local context, right?
And all I mean by that is, you know, on my block, we know exactly what’s up and that’s all, that’s, that’s who it matters the most to. But it is still really important that our neighbors know what’s going on on the block, right? So just making sure that the story gets told, um, as widely as it needs to, you know?
There’s still a lot of uncovered gems in our backyards.
[00:07:47] Roberta: I love what you said and what I was thinking is it also goes back to. To oral storytelling and something that’s so primal in humans– you’re talking about friendship, and you give stories to friends, it’s a giving, and taking, and giving back– it’s just a really human way to communicate information that, um…
Like you said, people are so disconnected. So it seems very urgent at this point, to tell stories.
[00:08:19] Anne Ishii: Yeah.
[00:08:19] Roberta: I know you’re a writer, and you tell stories that are personal, but political, and social. You have a blog, a newsletter that’s… I really want to recommend everybody sign up for Ann’s newsletter. We’ll put the link in the post when we put this up- it’s really a great read, great things to think about.
So, how did they come to you to invite you to be the host– WHYY– how did they come to you?
[00:08:47] Anne Ishii: Yeah, it’s so… I’ll be the first to say I was kind of shocked that this, all came… I mean, I am, I’m still pleasantly honored and shocked, um, shock and honor (laughs).
The producer, one of the producers at the show happens to be a friend, Naomi Brito, and, I mean, she’s an amazing documentary filmmaker. So we’d just been sort of talking in the context of storytelling and arts and culture.
And, um, she, so I just happened to be on an email list. You know, she, she let us know, she let a bunch of people know that there was a call for a new host for the show. And, and I said to her, I’m like, “wouldn’t it be funny if I did it?” Just, and I really did think it would just be funny. Um, In the, in the context of like, because I’m such a showboat, that that part is actually that, that part is obvious to anybody who’s met me.
I really like, I am kind of a, a clown and a showboat. Um, I MC events, you know, and, um, and she said, well, I don’t, I don’t see what would stop you. Like, I would actually be kind of interesting. You should definitely send in, um, Uh, a screen test. So I did, and again, each time I got the call back, I was just sort of surprised.
Um, so I sent in a one minute video, they liked it enough to ask me to come back and send more information. And then we did sort of like a live recording and yeah, I just kept kind of being good enough at it that they kept calling me back.
[00:10:34] Roberta: That’s amazing. I did not know that to your list of credentials, I should’ve added MC for events. I did not know this.
[00:10:45] Anne Ishii: Well, you know, the funny thing about that is I love… so I wouldn’t add this to my list of credentials as such. They’re more like I come in, I come in and just sort of set up the mic for the next guest or the main guest. And, um, this was mostly in the context of like the nightlife scene. Um, when I used to run this, uh, gay lifestyle brand.
But I’m actually a… Standup comedy MCing, anything, you know, karaoke (laughs)… Just really irresponsible reckless, uh, Mike jockeying. I’m actually pretty, pretty good at slash I’m going to do it anyway.
[00:11:29] Roberta: So just to back up on that a little bit, because I’m interested in the total person here. Um, when did you start doing either a standup comedy or what was your entry to this showboating as you put it?
[00:11:45] Anne Ishii: Hmm, that’s a really good question.
[00:11:47] Roberta: Like putting on plays for your family?
[00:11:50] Anne Ishii: Oh my God. No, my goodness. I would be just laughing at the thought of my parents watching anything I did.
That sounded a little more depressing than I meant it to. But you know, I’m a classic eighties, latchkey kid, my parents were never around. Um, this was more probably, um, I guess I’m going to say it, it begins with, so I played music as a child. That was, that was where I spent my, my time, obsessively sort of in a corner playing music. And, um, actually that’s what I thought I was going to be doing with my life. When I went into college, I was a music major initially. That, that, that was definitely the clear route. So it, that might’ve been my first sort of demonstration of showboating was, uh, uh, an appetite for public performance, but through music.
And then, um, very long story short, I actually came out of college, a lit major, and then I just didn’t think I wanted to ever be in public again. But, um, comedy, comedy is just a coping mechanism, isn’t it? Like, you know, we have to laugh through a lot. So I think as things got harder around me, it was more incumbent to become the joker.
And I, a lot of comedians talk about having to be the joker in the family to deal with major trauma and tragedy. And that’s absolutely, that was absolutely the case here. Um, my first foray into standup was actually with a friend who’s now– I’m so proud of her– she’s become this really great comic, stand up comic, Youngmi Mayer, but she and I used to just be drinking buddies.
So it was really just uh, we were in New York, out drinking all the time, um, a little, maybe a little disappointed with the comedy we were seeing and then just thought like, well, you know, it won’t kill us to try it ourselves. And then like everybody else, you know, you really just have to pull the bandaid off and go to your first open mic, and then you’re going to multiple open mic’s a night, and et cetera, et cetera.
So it all kind of happened organically, but, as for the emceeing and just kind of taking over the mic. The other thing about me is I think, I’m somebody who has rarely experienced stage fright. I don’t know what it is about me. I just don’t have, I don’t really get that.
I mean, I get nervous, but it’s like, it immediately transforms into excitement? Like nervousness always immediately turns into like sheer adrenaline. I love that high. I think it’s kind of like the feeling some people get from parachuting or, you know, extreme athletics. So, um, yeah. That, I don’t know why, but, um, if you need somebody to speak publicly, I’m pretty good at it, just because it doesn’t scare me.
[00:14:57] Roberta: That is an unusual, uh, characteristic and good for you! (Laughing) I am terrified of microphones and speaking publicly, but you do build up a thick enough skin. Um, and it is one, I like the way you express, uh, the nervousness turning into excitement. Cause I think that’s very real. That’s
[00:15:19] Anne Ishii: You know, I’m just realizing, I think actually– not to psychoanalyze myself, but it’s just occurring to me– I think some of that, and you and I share this Roberta, but, we had to, we have to become mouthpieces, right? Like we become responsible for certain communities because they’re under, under vocalized.
And from, it was literally just like a, a childhood of calling on behalf of my parents who didn’t speak English. Like I did a lot of that as a kid. And we do a lot of that as, um, cultural shepherds, right? Like there’s just a lot of people who aren’t going to be able to be heard. So you kind of just end up having to do it.
And then after you do it enough, it becomes something you have to enjoy it or you can’t keep doing it? Or at least that’s how I’ve thought about.
[00:16:15] Roberta: Yeah. Yeah. Wow. Very well put. Okay. I dragged us down a rabbit hole that was very, very interesting. But now I want to pull us back to the show that we’re here to talk about.
So, um, I watched the first show last night, uh, we’re speaking on February 3rd and it dropped last night. It’s available on the website this morning. So I watched it and it’s, uh, a whole episode dealing with one organization, or community really, an artists’ colony, in, um, Arden Delaware, that dates from the 19 hundreds. So I thought it was fascinating and very well done. And, um, talk about your hosting. What, what does your hosting of this mean? Um, you’re not a producer or are you a producer too?
And do you help edit and select and what is, what’s the job?
[00:17:16] Anne Ishii: Okay. Yeah. So, in this season, I’m kind of coming in, I’m coming in hot (laughs)., I’m coming in, uh, “en media res,” as they say, so the programs, the episodes had already been sort of composed, edited, written. Um, and so I came in with existing footage and… and, you know, the work had culminated. I am just a person who ties the stories into, you know, the host just kind of shepards, you know, ushers you into the story. That’s, that’s really my job in this season. But I have come in in time to help with writing aspects of upcoming episodes. So you’re going to see a little more of me in other episodes.
Um, I’m not a producer, but I am a writer. So that does mean I get to, um, look at the content and the story ideas and give, you know, give feedback. And mostly, I think my, my narrative, just the vignettes that weave together, the themes and the subjects is, is also a process of identifying like, well, what do we need to, what should we focus on? What’s feeling important, what maybe feels inappropriate. So some of the work is just like, “ummm….” You know, from my point of view, maybe we focus on these things and not so much on those things.
I mean that I’m just describing the work of an editor, writer/ editor, which is kind of what I’m doing now. And I’m, I don’t want to speak ahead for WHYY, but I know we’ve already started talking about, in the next season, I’m definitely going to try to be much more involved in the production and the, and the, you know, um, curation of the subjects.
So. Yeah. You know, I actually, half of my conversations with the producers are just these like roaming chats of like, who are, who are people that I, Anne Ishii want to talk to? There’s just been a lot of, you know… And I guess that’s what other reasons they were interested in me as a hostess, because I also do have access to, um, different communities that maybe- I don’t know- you know, unfortunately public media has overlooked for a minute?
[00:19:42] Roberta: Yeah, no, I love that, uh, that they want to know who you want to talk. I mean, that was basically what was behind my question, because you know, a lot of people, you are granularly involved in the community at many, many levels. And I would think you would be a go-to resource for them to come up with stories.
And I was wondering if that’s going to happen?
[00:20:06] Anne Ishii: Yeah, I’m so grateful. This crew of producers is really, I mean, so… They’re so receptive and they’re paying so much attention. There’s you know, the other thing is, this is a show which has boundaries like budget and time and resources. So, so you’re only going to see in the season a total of, you know, six to eight subjects, but the mood board, like the actual list of things that they know is just like infinite.
Um, so I feel really privileged that they’re letting me add to that, you know, uh, abundant list and, um, we’ll see, what’s the. What floats up.
[00:20:52] Roberta: Yeah. And some things are going to lose their topicality, and some things are going to be sort of evergreen. And so that I’m sure that factors in also, and I know that there has got to be a massive delay from writing to videoing and edit, you know? Do you know how long it is to put one piece together? One show.
[00:21:17] Anne Ishii: Yeah. You know, I’m actually so impressed at their turnaround. It’s pretty quick, um, in, I can’t say in the exact weeks, but you know, we, we shot some things in… I guess it was October and it’s, and it’s ready. I mean, it was just a matter of a couple months, right? Cause they had to package it by the top of the year.
So that, that would be like, you know… and we’re talking, you know, 60 minute episodes, these aren’t, uh, this, these aren’t TikTok videos. They’re like… (laughs)
[00:21:49] Roberta: Right. And they’re edited. So there, you know, in the music and all that kind of stuff.
[00:21:54] Anne Ishii: Right. Exactly.
[00:21:58] Roberta: Um, all right. I want to move on now, if you’re okay with this– and we can always swing back to the show– um, to Asian Arts Initiative, your….
[00:22:07] Anne Ishii: Yeah.
[00:22:07] Roberta: … other big hat that you, wear, you’ve been at Asian Arts for five years, is it now? I can’t remember.
[00:22:14] Anne Ishii: It’s going to be, it’ll be four years at the end of July. At the end of June. Well, July. Yeah. And I know, um.
Yeah, Asian Arts Initiative, my home, um.. I’m baffled by my tenure there, because I came in and then– um, you know, this is how amazing the organization is– I was able to take a very lengthy, um, family leave when I had my child, uh, just five months into the job.
And so I was gone for four months. I come back online and then six months later, we’re in a shutdown (laughs) right? Like, so… and, uh, I just, I keep kind of swirling in my head around just like how surreal time has felt, but I’m really glad that it’s, I mean, having this job has been such as an important anchor for me, um, you know, in terms of.. I, I think of a lot of people who’d actually just moved to Philadelphia right before the pandemic? At least I had a year of runway to like, you know, really get integrated… Uh, and yeah, somebody was, gosh, I wish I could remember who said this, but, um, that’s how you, that’s how you discover who you really are, right? Is how you behave in crises and how people, um, receive you during conflict.
So, you know, it’s been a really, really interesting learning experience, um, only positive. I mean, I’ve really, my love for the city has redoubled and tripled and feels just like infinite now because of how it showed up for us as an organization in the last couple of years.
[00:24:16] Roberta: That’s great. What did the city do in particular? I’m sort of unfamiliar.
[00:24:23] Anne Ishii: Uh, there was so much care and attention to our, to our… You know, I don’t want this to sound like petty, but, um, there was a moment when I thought, where, where were you before the pandemic? It’s like, you know, when you, when everybody is in a place of need, suddenly everybody cares. Um, but I guess what I mean by that is, um, We’ve always served the community at the, at the level of the neighborhood, right? We’ve always made endeavors to work directly with people, right, right behind us and uh, ahead of us.
Um, that, that work when you, when you work in community-based arts and culture, the priorities are not to market it or to razzle-dazzle it, you know, it’s not to make it really shiny and slick. It’s, it’s to serve the community and to make sure that needs are met. So, you know, when attention started to focus toward us, um, in this more protracted way, and what I mean is– I mean, I’m hesitating to say this out loud– but as attention kind of grew on campaigns to end anti-Asian racism and violence, for example, after the Atlanta massacre, just as a case in point, um, I, I got no less than maybe 30 interview requests? Uh, for some kind of statement on behalf of the Asian American community and the region.
That’s, that’s attention, um, very welcomed and appreciated and, we really felt held and seen as an organization. But. It’s um, you know, it’s, it’s, it’s kind of shocking in awkward and it’s, um, it’s an experience. It’s, it’s a process. But, um, well, I didn’t answer your question at all. (laughs) I-
[00:26:24] Roberta: No I kind of think you did, and it wasn’t necessarily the best question, but, um…
[00:26:32] Anne Ishii: I think, you know what it is? I think when you demonstrate… you give and you get, and so the city has a very natural, I believe a natural economy of human energy and, and labor, like you, you know, it’s kind of like how a bicycle is the most efficient expression of human energy. Like you, you go, it feels right, right?
Like on a bicycle, um, it feels like you’re going the right distance for how much energy you put into it. As long as your tires are filled with air. Whereas like if you’re on a rocket ship or a car, it’s sorta like you push the gas pedal just two inches and you go really fast and it’s a little… it takes a while to get used to.
Philadelphia, to me is like a bicycle. Like everything you do, the energy you spend kind of feels correct. So, you know, that’s an aspect of the work that I feel lately, Asian Arts Initiative, as a bicycle has felt, has become, felt and become more efficient and more natural and sort of more productive.
Um, when I first got here, I felt like there wasn’t enough air in the tires, or maybe the tires were too big. Maybe I was on a mountain bike inside of a city, but these days I’m feeling like, okay. Yeah. And so the… Yeah, the city is a bicycle. (laughs)
[00:28:03] Roberta: I like that metaphor. That’s good, um.
So what in particular is happening at Asian Arts right now? You, you always are an advocate for what’s going on in your community and a lot of your program is activist and advocacy. So do you have anything you want to share with us about what’s either on now or coming up?
[00:28:27] Anne Ishii: Yeah, totally. We are. Gearing up for our first visual exhibition in the gallery, in a couple of years, uh, during the shutdown, we just converted the whole space. But, um, the theme of our work this year is going to be around ecosystems. And so that’s a, that’s a vehicle under which we will get to talk about environmental justice, environmental health.
But, um, we’re being very deliberate about approaching this from just like a taxonomical point of views, just what is an ecosystem? What is the plant life that thrives, um, who are the people who are protecting these spaces, and really just digging deep into the what and not, not so much the, um… You know, like how do we become better ecologists or environmental activists?
It’s uh, I’m trying to make it as undidactic as possible. Because my question is really, you know, if we pretend or if we acknowledge that we’re in a state of climate disaster, and understand that there are a lot of things that are just kind of permanently broken, the solutions have to come out of acknowledging that reality, instead of constantly looking backward at like, what used to work, or what we need to return to.
And I really think artists are exceptional at that work, right? Just being able to see exactly what is happening with crystal clarity. And so “Ecosystems” is really just acknowledging what is happening right now on earth, and what are some perspectives from the Black, indigenous, brown, and Asian American perspective that can really, you know, hopefully change how we treat nature and our relationship to it?
Um, but you know, by observing what’s actually already in here and the, and the systems we’ve already developed on our own.
[00:30:36] Roberta: Yeah, I like, I like that. Uh, breaking it down taxonomically. Because it is a complicated mess. And, uh, I think it lends itself to storytelling. If you break it down that way, you can have stories on what it is, who, who is doing what, et cetera, et cetera. And you’re right. Artists do tell stories. That’s another, getting back to storytelling.
Artists are storytellers, even if they’re painters, they are story tellers. So it’s a good combo. So when can we expect this to actually…
[00:31:11] Anne Ishii: Yeah.
[00:31:11] Roberta: … come into the world?
[00:31:13] Anne Ishii: We, uh, well we’re starting this month with a couple of public programming events, so we have, a round table talk around with Philadelphia Black Uprising and professor Jessica Gordon Nembhard on February 18th. And then on February 22nd, we’re actually doing a live seed exchange, so people are welcome to come to AAI at 1219 vine street and bring seeds, uh, take seeds, listen to the stories of Black and Asian, uh, horticultural and socio-cultural exchange.
Um, it’s a storytelling circle, speaking of storytelling again, (laughs) and then our, the, the gallery exhibition is going to open March 4th. So that’s going to be, um, in-person and you know, we’re going to do what we can, obviously, to observe COVID protocols, but it is going to be in person. So I can’t wait to see people in person.
[00:32:06] Roberta: (laughing) I know, likewise, it’s been rough. Um, yeah, so, um, Okay. Is there anything else that we missed talking about your “Movers and Makers” that you want to bring up? Um, I know there’s another, are they once a month that they come out or every two months, how does that work?
[00:32:28] Anne Ishii: I wish I, I should know this. I’m going to find out. (laughs) I think it’s monthly. Um, you know, uh, I’m going to be a little cheeky, but I hope everybody gets to watch the show, but. Not least of reasons being, I think the funnest conversation I’ve had with the producers is around my wardrobe. (laughs) I’ve never had so much attention paid to like just the precision of what I had to be wearing and (laughing) how I looked?
[00:32:59] Roberta: Well, I want to give kudos to whoever made the costume choice for you for your, for the Arden one. Cause it really was beautiful, you know, green and white and blah, blah, blah. It just went with the greenery around you.
[00:33:15] Anne Ishii: Thank you so much. Yeah, that, that particular jumpsuit took us… I mean, I must have gone through eight other outfits before we agreed on that one. So the shout out to Karen Smiles, who has a really good eye.
[00:33:31] Roberta: Awesome. Awesome. And, um, all right, well, we have to wrap it up now, Anne. So I wanted to say one more time, anything we missed talking about? I could talk with you a lot longer, but, um, we should wrap it up. So what do you think, anything?
[00:33:49] Anne Ishii: I’m feeling good. I’m just really excited, um, you know, Artblog is dope. That’s what’s missing. Everybody needs to follow Artblog, and Roberta, and Morgan, and, and Wit and everybody like, I mean, everybody who’s involved in the production of this periodical, this, this important platform. So thank you.
[00:34:11] Roberta: Well, thank you. That’s golden. I’m very, very happy to hear it. And, um, we’ll put, like I said, in the website, the links to Asian Arts, and Movers and Makers, and your personal newsletter and all the other things. If there’s anything that’s not in there, just send it to us and we’ll put it in. So I’ve been speaking-
You’re welcome. And thanks for speaking with me today. It’s been terrific. I’ve been speaking with Anne Ishii, who is the new host of Movers and Makers on WHYY TV,. And we’ll see you next time. Thank you, Anne!
[00:34:48] Anne Ishii: Thank you.
[00:34:49] Roberta: Bye bye.
