Podcasts about Busan

In this episode, Sidney discusses the most devastating and heartbreaking movie she has ever seen, and her favorite zombie movie of all time, Train to Busan (2016).

Ade and Kelly are together, in the same room at last!! And with our super fan friend, Marta!Marta fills us in why zombie movie watching is good fun on a plane(Train to Busan on Netflix), tells us about cult classic-Supernatural and Ade and I chime in with our other thriller picks-Opus(HBO), The Menu (Hulu), Chilling Adventures of Sabrina (Netflix) and Weapons(new in theaters Aug 2025).

Representantes de 184 países iniciaram esta semana, em Genebra, Suíça, as difíceis negociações sobre o tratado global dos plásticos. O objectivo é redigir, em dez dias, o primeiro documento "juridicamente vinculativo" destinado a resolver a "crise mundial" da poluição por plásticos. Em entrevista à RFI, Valentina Muñoz, da ong Sciaena, sublinhou que esta é uma oportunidade crítica para alterar o rumo actual da produção e consumo de plástico. O texto está em discussão há três anos e os trabalhos que acontecem em Genebra, surgem depois do falhanço das discussões em Busan, na Coreia do Sul, no final de 2024, onde um grupo de países produtores de petróleo bloqueou qualquer avanço. No topo das exigências do grupo dos países "ambiciosos" - onde se incluem muitos países europeus - está o desejo de ver inscrito no tratado "um objectivo mundial de redução" da produção e do consumo de polímeros plásticos primários. Entre os países que se fazem ouvir contra o tratado, encontram-se os Estados produtores de petróleo e gás, como as monarquias do Golfo, o Irão e os Estados Unidos, que defendem um tratado centrado exclusivamente na reciclagem e no tratamento de resíduos. A estes acrescem-se as empresas da indústria petroquímica e as da indústria de bebidas engarrafadas em plástico. Na abertura do encontro, o presidente do comité de negociação, Luis Vayas Valdivieso, recordou que se trata de um “momento histórico face a uma crise mundial”. Terminados os discursos oficiais, começaram as difíceis manobras de negociação, com o grupo dos países árabes a pedir que a questão - que consideram “controversa” - da limitação da produção de plástico fosse discutida à margem das negociações formais. A postura faz antever negociações tensas até ao último minuto. Valentina Muñoz, responsável pelo lixo marinho, comunidades e sensibilização na organização não-governamental portuguesa Sciaena, encontra-se em Genebra a acompanhar os trabalhos. Em entrevista à RFI, sublinhou que esta é uma oportunidade crítica para alterar o rumo actual da produção e consumo de plástico. Um dos aspectos mais preocupantes é a toxicidade do plástico, tanto para os ecossistemas como para a saúde humana. E, apesar de os impactos já serem visíveis, as respostas políticas têm sido, até agora, tímidas e insuficientes. A activista lamenta que os Estados ainda não tenham tomado medidas concretas à altura do problema: “Os Estados têm que agir. Essa é que tem que ser a novidade”. No centro das negociações estão três temas centrais: a redução da produção de plástico, a regulamentação dos produtos químicos associados à sua produção, e o modelo de financiamento do futuro tratado. “Uma das questões mais importantes é a redução da produção de plástico. É também uma das mais controversas (...) Está em jogo a saúde do planeta”, frisou. Valentina Muñoz critica a narrativa de que a reciclagem é a solução mágica para o problema. Diz tratar-se de uma "falsa solução", promovida pela indústria para evitar mudanças mais profundas. Acrescenta que o problema é estrutural e está enraizado no actual modelo de consumo. “Este tratado é controverso porque questiona o status quo de tudo o que conhecemos, ou seja, de um sistema que é descartável, que foi vendido como o idílico, de consumir e descartar”. Apesar da complexidade das negociações e dos bloqueios, Valentina Muñoz mantém a esperança: “Ainda tenho um bocado de esperança [...] Há vários países que já mostraram muita ambição”.

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. On tonight's edition of Obbligato on APEX Express, which focuses on AAPI artists, musicians, and composers in the classical music world, host Isabel Li is joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. Featured Music: Sonatrinas: https://richardan.bandcamp.com/album/sonatrinas i got the electroshock blues: https://rasprecords.bandcamp.com/album/i-got-the-electroshock-blues   RICHARD AN (b.1995) is a performer and composer, born and raised in Los Angeles. Richard plays new music – usually with House on Fire – co-founded the tiny backpack new music series, and has performed with Monday Evening Concerts' Echoi Ensemble, Piano Spheres, The Industry and on Bang on a Can's LOUD Weekend. Richard plays piano and percussion, and has been known to sing, conduct, and teach. Richard's music has been performed by the Los Angeles Philharmonic Orchestra, Calder Quartet, HOCKET, C3LA, and more. His music has been released on CMNTX Records. Richard has a BM in Composition from USC and an MFA from CalArts. He is on faculty at the Pasadena Waldorf School, Glendale Community College and Harvard-Westlake. He plays taiko and tabla, and makes YouTube videos. Learn more about Richard's work on his website: https://richardanmusic.com/ Richard's social media: https://www.instagram.com/richardanmusic/ If you are in LA and want hear Richard's work, he's playing with House on Fire at the Sierra Madre Playhouse on August 17! https://www.sierramadreplayhouse.org/event/richardan2025   Transcript Opening: [00:00:00] APEX Express. Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express. 00:00:46 Isabel Li Good evening and welcome back to a new episode of Apex Express on KPFA, 94.1 FM. We are bringing you an Asian and Asian American view from the Bay and around the world. I'm your host, Isabel Li, and tonight is a new edition of Obbligato, which explores AAPI identities and classical music. Tonight I'm joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. 00:01:41 Isabel Li Welcome to the show. Welcome to APEX Express, Richard. My first question for you is how do you identify and what communities would you say that you're a part of? 00:01:50 Richard An My name is Richard An I use he/him pronouns and I'm a second generation Korean American. My parents are both Korean. My dad came from Busan, which is a large city in South Korea, and my mom was born in Seoul and then moved to South America and then made her way up to Los Angeles where they met. And as for identity, like, I think Korean American would be the most accurate one. This is and I think an ever evolving part of first of all my identity and the way that it intersects with my practice and also I think that's the case with many Asian American artists, I mean artists from immigrant families, you know, the the matter of your identity, especially if you feel more distanced from it for one reason or another, is like an unsolved question for everyone like there is no one answer. That works for people and that's a thing that me people like myself I think will be exploring for our entire lives. When I introduce myself to people, I say that I'm a classical musician. And at the very core of it, that is true. That's not a lie. And I am, you know, a part of the classical music community in Los Angeles. But as time goes on, I have noticed and realized. That I tend to align myself more with like the avant-garde and experimental contemporary music communities of Los Angeles, which has certainly an overlap with the classical community, both in practice and historically, but yeah, I I would say those are the sort of two biggest ones, classical musicians and experimental avant-garde, contemporary musicians, whatever label you want to use for that. 00:03:47 Isabel Li Yeah. Some of our listeners might not know what avant-garde music entails. Can you — how would you describe avant-garde music to someone who might not be as familiar with this particular movement? 00:03:57 Richard An Yeah. So avant-garde music, a sort of flippant and joking way to to talk about it is ugly music or music. You know, my dad, for example, wouldn't like, but I think. It's music that either interfaces with elements or confronts facets or issues in music that aren't typical of other kinds of music. The music that you might hear that is labeled of on guard might be noisy or dissonant or uncomfortable, or any kind of, you know, adjectives that are synonyms for noisy or ugly, but I have come to love that kind of music, you know 1. Because of the the kind of questions that they might ask about our perceptions of music and two, because I guess one way to put it is that to be a classical musician, you need to be in a practice room for many hours a day for many years and go to what is unfortunately a college, which is usually very expensive and I guess for lack of a better term, paywalled for like you need to have the kind of resources that allow you to attend a four year undergrad and then a two year masters and then a three-year doctorate. But avant-garde music, contemporary music, experimental music doesn't necessitate that kind of thing. Often those musicians do have a background that gives them some amount of, you know, virtuosity or facility in an instrument. But like some of the best experimental musicians. Alive and some of the best ones that I know have no, like extensive training in a particular instrument and some may not have a degree in music at all. And that's one thing that I in like that separates it from classical music is that. 00:05:44 Richard An Classical music can be, unfortunately a little bit exclusionary. I don't think by any one specific design, but the fact that you need so many hours and very specific instructions from a mentor that necessitate that kind of relationship. But experimental music, I think does a little bit better job of diversifying or making it feel more equitable. 00:06:12 Isabel Li That's a great point, actually. One of my questions following up with that was what do you think is possible with this genre, which you kind of mentioned earlier with perhaps how this genre makes classical music a little bit more equitable for those who are interested in this field. In your experience, composing, what do you think makes the genre special, and how do you go about it? 00:06:35 Richard An One thing that I've noticed about being involved in the sort of contemporary experimental avant-garde music sphere is that it makes me a better listener, and I think other people who attend these concerts will agree. Like for example a large part of this kind of music is drone or repetition or, you know, like long spans of unchanging sound. And if the the sound that is being produced at face value is not changing, well then what do you notice about it? What do you grab on to and one of the most, I think, gratifying experiences is listening deeper and realizing that, ohh, even though you know for example this piano playing two notes for 30 minutes might not like the instructions will say to do the same thing for 30 minutes, but your experience as a human being will certainly change over those 30 minutes, even if the the notes are not like you will notice the slight fluctuations in the way that someone is playing, you will notice the beating patterns in the pitches on an instrument that may not be perfectly in tune, you will note other ambient sounds, you will note like you will notice so much more about the world when you are confronted with the kind of music that you know. You can say it forces you to listen to these sounds but also invites you to listen to these things. And I think that's really, really special. That's not to say that that can't happen with other kinds of music. Or even with classical music. Surely you know there are many, many ways to listen to everything. But I've noticed this within myself. When I listen to long, repetitive drone based music that it really opens my ears and makes me a more active participant as a listener. 00:08:30 Isabel Li It's a great point actually. Part of my work– because I studied music, history and theory in college– was how music can engage various listeners to participate. Have you composed anything that perhaps engages the listener in this more of a participatory setting? 00:08:47 Richard An Yeah. So I guess in order the some of the stuff that I've done to engage the audience, I guess both literally, and maybe more figuratively is, I wrote a piece last year for the Dog Star festival, which is a a contemporary and experimental music festival that is actually happening right now, at the time of this recording. It's a multi week long festival that focuses on music of this type that was founded by people in the sort of CalArts music world. But I wrote a piece for that last year for three melodicas, which are these basically toy instruments that look like keyboards, but you blow into them and you blowing air through these makes the sound happen. It's basically like if you cross a harmonica and a piano together. But I I wrote a piece for three of these, playing essentially the same notes. And because these instruments are pretty cheap, and they're often considered toys or, you know, instruments for children, they're not tuned to the exact way that, like a piano or a vibraphone or an expensive instrument might be. But I wanted to use that for my advantage. For example, if I play an F# on one melodica the same F# on another melodica will not be exactly the same and playing those two pitches together will produce what's known as a a beat or beat frequency. Which is, you know, a complicated, you know, mathematic physics thing, but basically 2 notes that are really, really close, but not quite together will create a kind of third rhythm because the the pitches are so close. Like, for example, if if I play an A at 4:40 and another A at 441, you will notice that difference of 1 Hertz inside of your ears. And that's a really cool phenomenon that happens explicitly because you were there listening to the piece. They don't happen necessarily, you know, like in, in recorded formats like, it's a very difficult thing to capture unless you are in the room with these instruments. And the fact that we had this audience of, let's say, 40 people meant that all forty of these people were experiencing these beat frequencies and another really cool factor of this is depending on where you are located in the room. With the way that the beats will sound in your ears are different and purely by the fact of acoustics like a wave bouncing off of the wall over on your left, will feel really different if you are closer or further from that wall. So not only do the audiences ears themselves, you know, invite these this this participation, but the pure physicality of each listener means that they will have a very slightly different experience of what the piece is, and again like this will happen in any concert. If you're at a classical show, if you're at a rock show if, if you're further from the stage, if you're further to the left or right, you will get a slightly different position in the stereo field that the musicians are playing in, but pieces like what I wrote and many others that exist emphasize this kind of like acoustic phenomena. That is really, really fascinating to listen to. 00:12:23 Isabel Li That's fascinating. And to get a sense of Richard's work, we'll be hearing coming up next. The short excerpt from his album Sonatrinas. This is the duo excerpt performed by Wells Leng, Katie Aikam, Kevin Good and composer Richard An himself. [COMP MUSIC: Sonatrinas (Excerpt: Duo)] 00:17:38 Richard An And so the back story for this piece is this was written for one of my recitals at CalArts. I was planning on playing this piece by Michael Gordon called Sonatra, which is a really, really beautiful and difficult piece for solo piano that I gave myself as an assignment, which I was not able to do with the amount of time. And, you know, like I just didn't give myself enough time to do this thing, so I still had this program of several pieces written with the idea of having this Michael Gordon Sonatra in the middle, but now that that sort of middle part was gone, there was a bunch of pieces about a piece that didn't exist. So in order to fill that hole, I wrote this piece called Sonatrinas which is a cheeky nod to the Michael Gordon Sonatra, but also to the fact that each part of this is kind of a diminutive Sonata form. Everything has a sort of ABA– here's some idea. Here's a different idea, and now we go back to that first idea. Every single part of this has a little bit of that in it. 00:18:51 Isabel Li Yeah, that's fascinating. Even the name itself reminds me of Sonata form in classical music, where it's kind of like an ABA section. As you sort of talked about earlier. And it's really cool that you're adapting this in a more avant-garde context. This is a reminder you're listening to Apex Express. Today we are interviewing composer and musician Richard An. 00:19:12 Isabel Li I think the general question that I have next is can you tell me a bit about what drew you to music and how you got your start in music, how you got introduced to it and what things have inspired you over the years? 00:19:24 Richard An Yeah. So a real quick sort of, I guess, history of my involvement with music is that I started piano lessons when I was pretty young, either three or four years old. I continued that until I was 12 or 13. I decided I really wanted to become a musician. I started taking composition lessons with this composer, AJ McCaffrey, who is really responsible for a lot of what I know and my successes, if you can call it that. He got me into a lot of the music that I am into now and set the foundation for what I would study and what I would write he was one of the instructors for this program called the LA Phil Composer Fellowship program, which back when I was a participant from 2011 to 2013, was a program hosted by the Los Angeles Philharmonic that took 4 high school age students every two years. And you know, they they taught us, you know, everything. How a young composer needs to know how instruments work, how to write a score, how to talk to musicians, how to do everything that a that a composer needs to learn how to do and at the end of this program, after the two years the young composers write a piece for the at the LA Philharmonic. So I was extremely lucky that by the age of 17 I was able to write a piece for orchestra and get that played and not just any orchestra, with the Los Angeles Philharmonic, you know, undisputedly one of the best orchestras in the world. Right. And then after that I I went to USC for my undergrad and then went to CalArts for my masters. And then here we are now. And that those are sort of the like, you know if someone writes a biography about me, that's what we'll be, you know, involved in the thing. But I really started to develop my love for music in my freshman and sophomore year. In high school I I started to get into more and more modern composers. I started to get into more and more noisy things and a lot of this coincided actually with the passing of my mother. She died when I was 14 and you know that in any human the death of a parent will cause you to reevaluate and rethink aspects of your life. Things that you thought were certainties will not be there anymore. So for me, I stopped taking piano lessons and I sort of went headfirst into composition and which is why my degrees are specifically in composition and not piano. Had my mother's passing not happened, you know, who knows what I would be doing now? Maybe I'm not a composer at all. Maybe I'm not into avant-garde music at all, but because things happen the way that they did, I suddenly took a quick turn into avant-garde music and my involvement there only grew more and more and more. Until you know where I am today, I'm almost 30 years old, so I've been listening to and a participant of this music for maybe 15 years or so and I'm quite happy. 00:22:43 Isabel Li That's awesome to hear. 00:22:45 Isabel Li And perhaps a testament to Richard one's very versatile compositional style and avant-garde music coming up next are three pieces from his album i got the electroshock blues. There are five pieces in the album in total, but we will be hearing three of them. The first one called “feeling, scared today,” the second one, “pink pill,” and the fifth one, “la la.” [COMP MUSIC: i got the electroshock blues: 1. “feeling, scared today”, 2. “pink pill”, 3. “la la”.] 00:36:41 Richard An Earlier last year, I released a collection of live recordings under the title of I got the Electroshock Blues. Electroshock Blues is a song by the band Eels I encountered at a pivotal moment in my life. This was right around the time that my mother passed and this record and this song is heavily centered in grief. The main musician in the Eels, Mark Oliver Everett, was dealing with the passing of multiple family members and people who were close to him so it hit me in just the right way at just the right time. And because of that, this song specifically has stayed with me for many, many years. I found myself coming back to the contents of this song as I was composing and all the pieces on this album, of which there are 5 heavily take material from this song, whether that's words, chords, the melody. I really, you know, take it apart, dissect it and use those as ingredients in the pieces that I have written here and all of these are live recordings except for the first piece which was recorded in my studio. I just sort of overdubbed the parts myself, and there are credits in the liner notes for this album, but I just want to say that. The first piece which is called “feeling, scared today,” was originally written for the Hockett piano duo, which is a duo comprised of Thomas Kotcheff and Sarah Gibson. Sarah Gibson was a really close friend of mine who passed away last year and now this piece which in some way came out of a feeling of grief now has renewed meaning and another facet or aspect of this piece is centered in grief now. Because this was dedicated to Thomas and Sarah. Yeah. So these pieces are all derived from this one song. 00:38:57 Isabel Li That's a beautiful response. Thank you so much. Kind of following along your background and how you got to where you are. How do you think your identity has informed your work as a composer and musician? And this could be– you can interpret this in any way that you wish. 00:39:11 Richard An Yeah, this is a really interesting question. The question of how my identity interfaces with my music. In my art, particularly because no person's answer is quite the same, and I don't necessarily have this figured out either. So for a little bit of I guess for a little bit of context on me, I'm second generation Korean American, but I've never been to Korea and I never went to Korean school. My parents never really emphasize that part of my education. You could call it assimilation. You can call it whatever, but I think they valued other aspects of my growth than my explicit tie to Koreanness or, you know my specific identity as a Korean or Korean American, and because of that, I've always felt a little bit awkwardly distanced from that part of my identity, which is something that I will never be completely rid of. So in in a world and the field where whiteness is sort of the default part you know, particularly because you know, classical music does come from Europe, you know, for hundreds of years, like all of the development in this particular kind of music did happen in a place where everyone was white. So because of that background of where I come from and where my musical activity comes from, whiteness has been the default and still feels like it is. So me looking the way that I do as, an obvious not white person, as a person of color will always have a little bit of an outsider status to the thing. And with that comes the question of what are you bringing to classical music? What do you bring to the kind of music that you're creating? Like for example, the most I think the most well known East Asian composers are people like Toru Takemitsu or Tan Dun, people who will interface with their Asianness, in many different ways, but that often involves bringing, for example, a Japanese scale into your classical composition, or bringing a Japanese instrument into your classical composition. Those are, you know, examples of of of pieces by Toru Takemitsu, and other, you know, very successful. Asian American composers now may do similarly. Texu Kim is maybe someone who can also give insight into this, but nothing about me feels explicitly Korean, maybe besides the way that I look. And besides, the way that I grew up a little bit like I've never been to Korea. What right does that give me as a Korean, to for example, use a Korean instrument or use a Korean scale? I've never studied that music. I've never studied that culture. I in in some arguments I would be guilty of cultural appropriation, because I, you know, have not done the work to study and to properly represent. And for example, like Pansori, if I were to use that in any of my music. 00:42:46 Richard An But then the the the difficult question is well, then who does have the right? Does being Korean give me all the license that I need to incorporate aspects of my identity? And if I am not Korean, does that, does that bar my access to that kind of music forever? Another way of looking at this is, I've studied North Indian Classical Hindustani music for a while. I've played tabla and and studied that music at CalArts and I really, really love playing tabla. It's it doesn't make its way into my composition so much, but it is certainly a big part of my musicianship and who I am and, like, but am I barred from using ideas or aspects of that music and culture and my music because simply for the fact that I am not Indian? Many musicians would say no. Of course you've done your homework, you've done your research. You're doing due diligence. You're you're representing it properly. And many people who study this music will say music cannot go forward if it's not like the innervated and continued and studied by people like me who are not explicitly South Asian or Indian. That's an example of the flip side of this of me using or representing the music from a culture that I am not a part of, but again, am I really Korean? I've never been there. I wasn't born there. I speak the language conversationally. But this is an extremely long winded way of saying that I feel a tenuous connection to my Korean this my Korean American identity that hasn't been solved, that isn't solved and probably will never be completely solved. But I think that's exciting. I think that's an evolving aspect of my music and will continue to be that way as long as I continue to be involved in music and as as long as I continue to write. 00:45:05 Isabel Li Yeah, absolutely. That's a wonderful response. Actually. I was, as I was studying different types of world music and learning how people kind of borrow from different cultures. There is this always, this kind of question like ohh, like which types of musical elements from which cultures can I incorporate and obviously the aspects of personal identity definitely play into that a little bit. And part of my senior thesis in college was studying AAPI artists in classical music, and specifically that there are a lot of Asian-identifying musicians in the classical music world. But as you kind of mentioned earlier, I think classical music is very much still like grounded in whiteness and has this kind of air of elitism to it just because of its roots. How do you think this kind of identity intersects with the classical music world? And forgive me if you've already kind of talked about it before, but it's an interesting juxtaposition between like, for example, musicians who identify as AAPI or Asian in this kind of genre that is very– it's very associated with whiteness. Could you kind of talk about the dynamics of how these two aspects of like culture kind of interplay with one another? 00:46:26 Richard An Yeah, absolutely. So, you know, there are ways that I personally feel like I intersect with classical music with reference to my identity, and that also plays with the sort of cultural expectations, like there are stereotypes of Asian musicians, of Asian classical musicians. But there are not necessarily the same the same kind of stereotypes with white classical musicians. A very dominant like stereotype that you'll run into is the young Asian prodigy who practices 10 hours a day and may therefore be labeled as mechanical or unfeeling or, you know, are involved in in this a lot. So much so to the fact to the to the point where to excel an Asian American classical musician or as an Asian classical musician, in general, seems to always carry that stereotype. Like you know, Seong-Jin Cho's success as a pianist may not necessarily be attributed to his musicianship or his skill as a pianist. Because he is an Asian person, an Asian guy. Like how much of his success is because of the perceived tiger mom-ness that he might have existed under? How much of it is attributed to the same type of stereotypes that are labeled like that that label the five year old pianist on YouTube that that is clearly better than I am? Like some of these stereotypes help and some of these don't, but the I think it's undeniable that they exist in a way that doesn't in a way that doesn't carry for white people in the classical music sphere. And I think part of that is that classical music is still rooted in its Eurological identity. I think I'm using that correctly. That's an idea from George Lewis. Eurological versus Afrological. The context that I'm using Eurological right now is specifically in reference to George Lewis, who is a composer, trombonist, and musicologist who, I think coined the two terms to differentiate the roots of different styles of music, and you know, I haven't read enough to confidently say, but classical music is Eurological by example and like jazz would be Afrological by an example and the contexts in which they develop and exist and grew up are fundamentally different, which is what makes them different from each other. And again like this needs a little bit more research on my part. 00:49:23 Richard An Yeah, and because the classical music is so rooted in this thing, I don't believe that the stereotypes that exist for Asian classical musicians exist for white people. And I think that is something that will naturally dissipate with time, like after another 100 years of Asians, and, you know, people of color in, you know, every country in the world, with their continued involvement and innova otypes will disappear like this. You know, it may require certain concerted efforts from certain people, but I do believe that after a while these things will not exist. They'll sort of equalize right in the same way. That the divisions that we make between a Russian pianist and a French pianist and a German pianist, though you know people still do study those things like those aren't really dividing lines quite as strong as an Asian composer or an Indian composer might be. 00:50:27 Isabel Li Thank you for that perspective. I think it's, I think these are conversations that people don't kind of bring up as much in the classical music world and it's great that, you know, we're kind of thinking about these and probably possibly like opening some conversations up to our listeners hopefully. And so my next kind of pivot here is as you know with our current administration, Trump has canceled millions of dollars in National Endowment of the Arts grants, and it's been affecting arts organizations all over the nation. And I was kind of wondering, have you been affected by these cuts to arts programs and what kinds of advice would give upcoming musicians or composers in this era? 00:51:07 Richard An Yeah, that's a yeah, that's a big thing. And like, you know, changing day by day, right. So the Trump administration's effects on my life as a musician is simultaneously huge and also not really that much. So in one way these grant cuts have not affected my personal musical life because I haven't ever received a government grant for any of my arts making. So in one way like my life is the same, but in many, many, many other ways it has changed. Like I am involved with and I work with concert series and organizations and nonprofits that do rely on NEA funding and other government arts based funding. And if they have less money to fund their next season, that means certain projects have to be cut. That means certain musicians have to be paid less. That means certain programs have to change, especially if these funding cuts are aimed towards DEI or quote and quote, woke programming like that is, you know this that will by design disproportionately affect people of color in this field, which already you know, like is in a Eurocentric urological tradition like this is already something that people of color don't have a head start in if the funding cuts are aimed at certain types of programming that will disadvantage already disadvantaged groups of people, well then I don't know, that's even–we're starting even later than other people might be, and you know, like, if a musicians, if a person's reaction to this is despair, I think that's reasonable. I think that is an absolutely, like that's an appropriate reaction to what is fundamentally an attack on your voice as an artist. But I I have for as long as I can, you know, I have always worked under the impression that I will have to do the thing myself, and that's in the piece of advice that I give for a lot of people. You shouldn't necessarily wait for this ensemble to come pick you to play or or to to, you know, commission you to write a piece if you want to write the piece, you should do it and figure out how to put it on yourself. If you want to perform you know music by a certain composer, you should do it and then figure out how to do it yourself. That certainly comes from a place of privilege, like I can do this because I have enough work as a musician to be able to pay for the the passion projects it comes from a place of privilege, because I live in Los Angeles and the resources and musicians and other people who I would like to collaborate with live here, so you know, completely acknowledging and understanding that I I do believe that it's better to ask for forgiveness than to ask for permission. I think if you're a young musician and are feeling some despair about these funding cuts and you know the many, many, many other transgressions against humanity by this current administration. 00:54:38 Richard An I recommend you just go out and do it yourself. You find your people, you find your community, you pull favors, you work long nights and you do it and the reward will firstly be the good you're putting out into the world and then the the art you're making. But also this will be paid in kind by the community you're building, the musicians you're working with. And the the connections you make like you know I I have, I am currently conducting this interview from a studio space that I am renting out in Pasadena that I have built over the last two years that I do all of my rehearsals and my performances in, and that I, you know, host rehearsals and performances for other people, and this cannot happen and could not have happened without the goodwill and help and contribution from other people. When I say go out and do it yourself, I'm not saying that you as a human being are alone. I'm saying you don't need to wait for institutional approval or permission to go out and do these things. Get your friends and do them themselves. And my optimistic belief is that the support and the work will follow. 00:55:53 Isabel Li Richard, thank you so much for sharing your perspectives and your voice on this show today. And thank you to our many listeners of KPFA on tonight's episode of Obbligato on Apex Express. Which focuses on the AAPI community of the classical music world. There were some inspirational words on arts and arts making by Richard An musician and composer based in Los Angeles. 00:56:18 Isabel Li Please check our website kpfa.org to find out more about Richard An and his work as well as the state of the arts during this period of funding cuts. 00:56:29 Isabel Li We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world, your voices and your art are important. 00:56:41 Isabel Li APEX Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Jalena Keane-Lee, Miko Lee, Preeti Mangala Shekar and Swati Rayasam. Tonight's show was produced by Isabel Li. Have a great evening. The post APEX Express – 8.7.25 – Obbligato with Richard An appeared first on KPFA.

Quase 180 países participam de negociações globais para um tratado juridicamente vinculante sobre a poluição plástica, em Genebra, na Suíça. No ano passado, em Busan, na Coreia do Sul, países produtores de petróleo emperraram as discussões. O encontro começou na terça-feira (5) e deve durar dez dias. Para o Brasil, um dos principais pontos de discussão e das propostas apresentadas nas negociações é a questão da saúde humana, explica Maria Angélica Ikeda, diretora do Departamento de Meio Ambiente do Ministério das Relações Exteriores e negociadora-chefe da delegação brasileira. “As pesquisas já encontraram microplásticos no corpo humano, no feto, na placenta, no leite materno. Segundo os cientistas, estamos ingerindo muitos microplásticos por várias vias – alimentos, líquidos, etc. O Brasil enfatiza a importância de promover e fortalecer as pesquisas científicas sobre essa inter-relação entre poluição por plásticos e saúde”, diz Ikeda. “Nós sabemos que há muita oposição de algumas outras delegações por várias razões específicas. Estamos abertos ao diálogo e à negociação. Temos, como sempre, como princípio, a flexibilidade, porque queremos ouvir todas as delegações e chegar a um resultado consensual. Mas gostaríamos de preservar o conteúdo relacionado à saúde no tratado”, assinalou a negociadora brasileira. Outro ponto defendido pela delegação brasileira é a transição justa para os trabalhadores da cadeia do ciclo de vida dos plásticos, sobretudo os trabalhadores informais, incluindo os catadores de materiais recicláveis. "Os catadores dependem de valores justos para o material reciclável, para poder garantir sua renda. Eles vendem esse material para os recicladores. Então, é muito importante protegermos esses trabalhadores das flutuações de mercado e prover regulações que realmente assegurem essa fonte de renda”, enfatizou Ikeda. A representante do governo brasileiro também defende a criação de um mecanismo financeiro ambicioso, para que os países em desenvolvimento tenham meios de implementar o acordo. WWF apresenta relatório contundente A organização de conservação WWF corrobora as preocupações com a saúde. Um relatório da WWF de julho de 2025, intitulado Plásticos, Saúde e Um Planeta, destaca que a poluição por partículas plásticas microscópicas representa uma ameaça física e química, devido aos aditivos tóxicos. Substâncias como ftalatos, bisfenóis e PFAS ("químicos eternos") são particularmente preocupantes, associadas a riscos de infertilidade, câncer, doenças respiratórias e cardiovasculares, além de impactos no desenvolvimento cerebral. O relatório defende uma abordagem de “Saúde Única” (One Health), reconhecendo as profundas interconexões entre a saúde humana, animal e ambiental. Entre as reivindicações da WWF estão o banimento e a eliminação progressiva de plásticos de uso único e de químicos perigosos. Atualmente, menos de 6% das 16.000 substâncias químicas usadas em plásticos são reguladas internacionalmente, embora mais de 26% sejam conhecidas por serem perigosas. A ONG pede regras harmonizadas e vinculantes para o design de produtos plásticos, a fim de melhorar a gestão e a reciclagem dos materiais, além de financiamento e transferência de tecnologia para países em desenvolvimento. Assim, como a delegação brasileira, a WWF também solicita a transição justa para os trabalhadores da cadeia do ciclo de vida dos plásticos, incluindo os catadores de materiais recicláveis. “Uma questão de direitos humanos”, explica Michel Santos, gerente de Políticas Públicas do WWF-Brasil. Críticas à posição brasileira Embora o Brasil tenha uma Política Nacional de Resíduos Sólidos avançada, que prevê o ciclo de vida completo do produto, o país não tem defendido amplamente a redução da produção no tratado, devido à pressão da indústria petroquímica, que não quer ver essa redução no Brasil e no mundo, aponta Santos. Ele ressalta que a indústria insiste que bastam medidas de gestão e reciclagem ("midstream" e "downstream") para resolver o problema, mas a WWF defende que, sem medidas "upstream" (redução da produção), uma solução de fato não será alcançada. Santos lamenta que iniciativas domésticas importantes, como a Estratégia Nacional de Oceanos Sem Plásticos, estejam paralisadas e “desidratadas” por influência dessa indústria. Ele enfatiza que “o capital não pode se sobrepor à saúde das pessoas e à saúde do meio ambiente”. Perspectivas para o tratado Apesar do impasse em Busan, há um otimismo cauteloso em Genebra a respeito de um acordo. Maria Angélica Ikeda compartilha essa visão: “Acredito, pelas conversas com as outras delegações, que existe uma intenção forte dos países de conseguir um acordo em Genebra”. No entanto, ela reconhece que o texto é extenso, aborda muitos temas e as posições dos países são divergentes, o que torna a negociação desafiadora. Michel Santos elogia políticas em relação ao plástico de países como Noruega, Alemanha, México e Guatemala, que defendem um tratado ambicioso. Ele teme que outros, produtores de petróleo como Arábia Saudita, Rússia e Kuwait, possam tentar arrastar as discussões e evitar acordos vinculantes.

Delegados de 180 países están reunidos en Ginebra, Suiza, para negociar un tratado global contra la contaminación plástica. No es fácil, debido a la posición de una decena de países productores de plástico y petróleo, cuyos polímeros son un derivado. Otros actores muy presentes que quieren impedir un tratado demasiado ambicioso contra el plástico son las empresas petroquímicas y las de la industria de bebidas en botellas de plástico. “Ante la amenaza de una minoría de bloquear las negociaciones finales en Ginebra para un tratado sobre plásticos, los países deberían invocar su derecho al voto para garantizar que se alcance un acuerdo ambicioso”, se lee en una columna de la plataforma de noticias suizas Geneva Solutions.   Está firmada, entre otros, por el político Juan Carlos Lozada, representante a la Cámara de Colombia y autor de la ley que prohíbe el uso de plásticos de un solo uso en ese país sudamericano, conocida como la Ley 'Chao Plásticos'. “30 años de lucha ambiental desde Kioto y ha sido absolutamente imposible tener acuerdos internacionales que realmente le hagan frente a la crisis climática. ¿Por qué? Por los intereses económicos de cuatro o cinco países que son los principales responsables de la emisión de gases a efecto invernadero: China, India, Estados Unidos, Rusia y la Unión Europea”, dijo Lozada a RFI.  La Asamblea de las Naciones Unidas para el Medio Ambiente en 2022 creó un comité para desarrollar un instrumento internacional jurídicamente vinculante, con un enfoque integral que aborde todo el ciclo de la vida de los plásticos.   Tras cinco reuniones, la más reciente en diciembre pasado en Busan, Corea del Sur, no se ha podido adoptar un texto definitivo.  El tratado, como todo pacto de la ONU, requiere consenso y no mayoría, un mecanismo que preocupa a la Coalición Interparlamentaria para Acabar con la Contaminación Plástica, firmante de la columna al respecto. Leer tambiénLíderes mundiales se reúnen en Ginebra para forjar un acuerdo histórico contra el plástico Consenso “Cuando un país no está de acuerdo puede trancar una discusión en la que una amplia mayoría sí está de acuerdo. Es grave porque las soluciones que el planeta está necesitando hoy en materia de reducción de la contaminación plástica se puede ver frustrado por la posición de apenas unos cuantos países que prefieren defender sus  propios intereses económicos”, denuncia el político y defensor del medioambiente. “No podemos hacer absolutamente nada según los instrumentos internacionales”, asegura. “Por eso es que aquí hay una discusión de cómo deberían ser aprobados estos tratados, y es que deberían ser aprobados por consenso o si deberían ser aprobados por mayorías".  Antes de llegar a un tratado hasta el 14 de agosto, deberán negociarse más de 300 puntos de desacuerdo. Entre ellos, si se incluye o no una limitación de la producción de plásticos nuevos.  “No solamente los países petroleros se han opuesto, también se oponen países que tienen un alto lobby de los comercializadores del plástico”, precisa Lozada. Anualmente se producen 460 millones de toneladas de plástico, la mitad de los cuales son de un solo uso, y se recicla menos del 10% de los residuos plásticos. 

Delegados de 180 países están reunidos en Ginebra, Suiza, para negociar un tratado global contra la contaminación plástica. No es fácil, debido a la posición de una decena de países productores de plástico y petróleo, cuyos polímeros son un derivado. Otros actores muy presentes que quieren impedir un tratado demasiado ambicioso contra el plástico son las empresas petroquímicas y las de la industria de bebidas en botellas de plástico. “Ante la amenaza de una minoría de bloquear las negociaciones finales en Ginebra para un tratado sobre plásticos, los países deberían invocar su derecho al voto para garantizar que se alcance un acuerdo ambicioso”, se lee en una columna de la plataforma de noticias suizas Geneva Solutions.   Está firmada, entre otros, por el político Juan Carlos Lozada, representante a la Cámara de Colombia y autor de la ley que prohíbe el uso de plásticos de un solo uso en ese país sudamericano, conocida como la Ley 'Chao Plásticos'. “30 años de lucha ambiental desde Kioto y ha sido absolutamente imposible tener acuerdos internacionales que realmente le hagan frente a la crisis climática. ¿Por qué? Por los intereses económicos de cuatro o cinco países que son los principales responsables de la emisión de gases a efecto invernadero: China, India, Estados Unidos, Rusia y la Unión Europea”, dijo Lozada a RFI.  La Asamblea de las Naciones Unidas para el Medio Ambiente en 2022 creó un comité para desarrollar un instrumento internacional jurídicamente vinculante, con un enfoque integral que aborde todo el ciclo de la vida de los plásticos.   Tras cinco reuniones, la más reciente en diciembre pasado en Busan, Corea del Sur, no se ha podido adoptar un texto definitivo.  El tratado, como todo pacto de la ONU, requiere consenso y no mayoría, un mecanismo que preocupa a la Coalición Interparlamentaria para Acabar con la Contaminación Plástica, firmante de la columna al respecto. Leer tambiénLíderes mundiales se reúnen en Ginebra para forjar un acuerdo histórico contra el plástico Consenso “Cuando un país no está de acuerdo puede trancar una discusión en la que una amplia mayoría sí está de acuerdo. Es grave porque las soluciones que el planeta está necesitando hoy en materia de reducción de la contaminación plástica se puede ver frustrado por la posición de apenas unos cuantos países que prefieren defender sus  propios intereses económicos”, denuncia el político y defensor del medioambiente. “No podemos hacer absolutamente nada según los instrumentos internacionales”, asegura. “Por eso es que aquí hay una discusión de cómo deberían ser aprobados estos tratados, y es que deberían ser aprobados por consenso o si deberían ser aprobados por mayorías".  Antes de llegar a un tratado hasta el 14 de agosto, deberán negociarse más de 300 puntos de desacuerdo. Entre ellos, si se incluye o no una limitación de la producción de plásticos nuevos.  “No solamente los países petroleros se han opuesto, también se oponen países que tienen un alto lobby de los comercializadores del plástico”, precisa Lozada. Anualmente se producen 460 millones de toneladas de plástico, la mitad de los cuales son de un solo uso, y se recicla menos del 10% de los residuos plásticos. 

Welcome to Unpacked, Five Questions, a podcast that takes you behind the scenes of one great travel story. In this episode, host Katherine LaGrave sits down with New York Times bestselling author and Afar contributing writer Peggy Orenstein, who recently traded her usual slow-travel style for the bustling energy of Busan, South Korea's second-largest city. Known for her thoughtful explorations of walking trails like the Kumano Kodo pilgrimage and Slovenia's Juliana Trail, Peggy discovered that sometimes speeding things up can lead to extraordinary discoveries. On this episode you'll learn: Why choosing a country's "second city" over its capital can lead to more authentic travel experiences The fascinating history of how Busan became a refuge city during the Korean War What to expect at Korea's largest spa complex, including the mysterious sheep-head towel tradition How Busan's coastal location makes it Korea's seafood capital, not just another beef-focused destination Don't miss these moments: [03:45] The "Abigail Adams theory" of travel that inspired Peggy's approach to choosing destinations [07:20] Peggy's octopus experience at Jagalchi Fish Market and the safety warning she learned too late [12:15] Inside Spa Land: 22 thermal baths, 13 saunas, and the community culture of Korean bathhouses [16:30] The intangible "spirit of Busan" - how tranquility and turbulence coexist in this historic port city [19:10] Peggy's perfect two-day Busan itinerary, from morning coffee overlooking the port to full spa days Resources Read Peggy's complete Afar story about her Busan adventure Follow Peggy Orenstein for more travel insights and writing Watch Ode to My Father, the Korean film that first sparked Peggy's interest in Busan Read the transcript of the episode. Next Episode Preview Join Katherine in two weeks when she speaks with Emma John, a London-based journalist and Afar contributing writer, who visited Door County, Wisconsin - her 43rd U.S. state - and discovered why locals call it the "Cape Cod of the Midwest." Listen to More Afar Be sure to subscribe to the show and to sign up for our podcast newsletter, ⁠⁠Behind the Mic⁠⁠, where we share upcoming news and behind-the-scenes details of each episode. And explore our podcasts, ⁠⁠Travel Tales⁠⁠, which celebrates first-person narratives about the way travel changes us, and View From Afar, where we hear from the people shaping the future of travel. Unpacked by Afar is part of ⁠⁠Airwave Media⁠⁠'s podcast network. Please contact ⁠⁠advertising@airwavemedia.com⁠⁠ if you would like to advertise on our podcast.

Brian and Steve get Thai'd up in a Netflix debut about fighting zombies. There's far more than 8 limbs in this action horror film, but is there something fishy about it? When a film tries to channel The Raid, Train to Busan, and The Sadness all at once but pulls all of its punches, you'll want nothing more than to simply be watching those better movies. Or The Protector. Lots of Protector talk. God that movie rules.   Plus we announce our August Showdown guest   Find Us Online-   Instagram: https://www.instagram.com/halloweenisforever/ Patreon: https://www.patreon.com/halloweenisforever Twitter: https://twitter.com/HallowForever Tik Tok: https://www.tiktok.com/@halloweenisforeverpod Facebook: https://www.facebook.com/HalloweenIsForeverPod E-Mail: Halloweenisforeverpod@gmail.com

Send us a textA prince of darkness and a sitcom actor, driven by their beliefs, pursue an egotistic carny in an attempt to put him down for the final three count, and to ensure that works for him, brother. On Episode 678 of Trick or Treat Radio we discuss the film Revelations from director Yeon Sang-ho! We also have an extended Koffin Korner to pay tribute to the dearly departed, we talk about South Korean cinema, and learn a little horror history! So grab your Galoob wrestling figures, commit The Ultimate Sin, and strap on for the world's most dangerous podcast!Stuff we talk about: A doc so big, Aliens Expanded, Creator VC, Slasher Trash, Friday the 13th, Nightmare on Elm St. Final Exam, Return to Horror High, Rhona Mitra, Red Sonja, Zombi, Ottaviano Dell'Acqua, The DaVinci Code, this day in horror history, Godzilla vs The Smog Monster, Wolfen, Creature Double Feature, Tarzan the Ape Man, The Black Cauldron, Superman IV: The Quest For Peace, Afraid of the Dark, Disturbing Behavior, Bloodsucking Babes From Burbank, Mutilation Mile, Orphan, Bloody Birthdays, Anna Paquin, Summer Glau, Rose Byrne, Jennifer Lopez, The Cell, Witchcraft 7 & 11, Gus Van Sant, Linda Carter, Linda Harrison, Chris Sarandon, Fright Night, Mark Goddard, Mark-Paul Gosselaar, RIP Malcolm-Jamal Warner, Matthew Perry, Jeremiah, Michael Phelps, RIP Ozzy Osbourne, The Osbournes, Elvis Presley, Florence Henderson, The Osmonds, Herve Villachez, Paul Lynde, Rest in Hell Hulk Hogan, Mr. Nanny, South Park, Trey Parker & Matt Stone, Galoob Action Figures, Superman, Train to Busan, Silence of the Lambs, Yeon Sang-ho, Revelations, Netflix, Rondo Hatton, Waiting For the Other Schumacher to Drop, The Santa Clara Chronicles, and Bad Guy Buddhist.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

Fast trains and fast zombies. We're discussing Train to Busan.

Episode Notes

Wir tanzen voller Freude durch diese wunderbaren Themen: die Sache Jesus braucht Begeisterte, esoterische Physiotherapie, blockiert, die schlechteste Show im Europa Park, Dosenbier im Fitnessstudio, Split-Training, stillstehen, der neue Firmenwagen, Head-Up-Display, Bildnachweis, Hatewatch, FISM Turin & Busan, Clatter Box, an der Kasse und schlechte Tischzauberei. Du bist auf jeden Fall ein weltmeisterlicher Hörer, wenn du diese Folge hörst! HIER KANNST DU UNS ÜBERALL HÖREN: https://linktr.ee/komischegespraeche HIER KANNST DU UNS AUF KAFFEE EINLADEN: https://ko-fi.com/komischegespraechepodcast HIER GEHT ES ZUR KOMISCHE MUSIKE PLAYLIST AUF SPOTIFY: https://tinyurl.com/komischeMusike UNSERE EMPFEHLUNG: Frank Wilson - Magic all over the World https://www.youtube.com/watch?v=lkkLzpn0Glw

Ich bin wieder da!Was ist in den letzten Monaten - Jahren! - passiert? Und wie geht es mit dem Podcast weiter?Ich spreche über meine Bücher, was mir während der Pause klar geworden bin... und vielleicht auch, was in Busan passiert ist? Alle Antworten darauf gibt es in der heutigen Laberfolge von "DonnaSori". Neue Folgen wird es jeden dritten Dienstag im Monat geben. Freut euch auf kurze, knackige Folgen über Korea und über das Schreiben. Instagram: donnasori & novemberbeetleSeoulicious, Fake Me, Real You: Genialokal LinkPrinzessin der tausend Diebe Bd 1: Genialokal Link

Tim and Jay talk zombies, the 28 franchise, and the father-son/generational inheritance theme that runs through 28 Years Later. Thanks for listening! (Or watching!)Some films we mention in this episode: 28 Years Later, 28 Days Later, 28 Weeks Later, Train to Busan, Night of the Living Dead, Sinners.Come find us:Website Instagram Facebook Twitter YouTube (starting with Episode 81) Opening music: "Let's Start at the Beginning," Lee RosevereClosing music: "Découvre moi," Marc Senet & Simon Grivot

Fluent Fiction - Korean: A Summer Night's Transformation at Busan's Haeundae Find the full episode transcript, vocabulary words, and more:fluentfiction.com/ko/episode/2025-07-05-22-34-02-ko Story Transcript:Ko: 해운대 해변은 여름밤이면 활기로 가득 찼다.En: Haeundae 해변 is filled with vitality on summer nights.Ko: 쏟아지는 별빛 아래서 사람들은 시장의 소리에 귀를 기울였다.En: Beneath the pouring starlight, people listened intently to the sounds of the market.Ko: 신나는 음악, 상인들의 활기찬 목소리, 그리고 바다의 파도 소리가 하나로 어우러졌다.En: Exciting music, the lively voices of vendors, and the sound of the ocean waves blended into one.Ko: 이런 밤에 진우는 좀처럼 발걸음을 옮기기 힘들었다.En: On such nights, Jinwoo found it difficult to take a step.Ko: 그는 오랜 해외 생활을 마치고 부산으로 돌아왔지만, 여전히 낯설게 느껴졌다.En: Although he had returned to Busan after a long time living abroad, it still felt unfamiliar to him.Ko: 친구 민호는 진우에게 말했다. “오늘 밤 시장에 가자.En: His friend Minho said to Jinwoo, “Let's go to the market tonight.Ko: 너를 소개할 사람이 있어.”En: There's someone I want you to meet.”Ko: 진우는 잠시 망설였다. 새로운 사람을 만나는 것이 어려웠기 때문이다.En: Jinwoo hesitated for a moment because meeting new people was challenging for him.Ko: 그래도 그는 민호의 제안에 따르기로 했다.En: Still, he decided to go along with Minho's suggestion.Ko: 그래서 함께 해운대 해변으로 향했다.En: So they headed to Haeundae beach together.Ko: 해변에는 사람들이 가득했지만, 진우는 그들의 속삭임에서 자신과는 다른 세상을 느꼈다.En: The beach was crowded with people, but Jinwoo felt like he was in a different world from their whispers.Ko: 그러나 민호와 함께 걸으면서 그는 점차 긴장을 풀었다.En: However, as he walked with Minho, he gradually began to relax.Ko: 강렬한 조명 아래 보이는 누군가가 다가왔다.En: Under the bright lights, someone approached.Ko: 바로 은지였다.En: It was Eunji.Ko: 은지는 현지 미술관에서 일하며 영감을 찾고 있었다.En: Eunji was working at a local art gallery, seeking inspiration.Ko: 활발하고 친절한 그녀의 미소는 진우의 마음을 순간 녹였다.En: Her lively and kind smile melted Jinwoo's heart instantly.Ko: 은지가 말했다. “안녕, 민호가 너에 대해 많이 말했어.”En: Eunji said, "Hi, Minho told me a lot about you."Ko: 진우는 고개를 끄덕이며 대답했다. “반가워요.En: Jinwoo nodded and replied, "Nice to meet you.Ko: 이렇게 시끌벅적한 곳에서…”En: In such a bustling place..."Ko: 그 순간, 근처에 있던 미술 갤러리 부스가 눈에 들어왔다.En: At that moment, a nearby art gallery booth caught his eye.Ko: 그곳에는 지역 예술가들의 작품들이 전시되어 있었다.En: It displayed works by local artists.Ko: 진우는 가만히 그 작품들을 바라보았다.En: Jinwoo quietly gazed at the artworks.Ko: 은지는 진우 옆에 서서 말했다, “여기는 어때?En: Eunji stood next to him and said, “How is it here?Ko: 내가 일하는 곳이야.”En: This is where I work.”Ko: 진우는 작품의 색감과 감정이 놀랍다고 느꼈다.En: Jinwoo felt amazed by the colors and emotions of the artworks.Ko: 그때 진우의 마음 속 무엇인가가 변했다.En: At that moment, something inside Jinwoo changed.Ko: 은지와 작품에 대해 이야기하면서 그는 점차 부산의 문화와 사람들에 대한 새로운 시각을 얻었다.En: As he talked with Eunji about the works, he gradually gained a new perspective on the culture and people of Busan.Ko: 그날 밤 해변을 걸으며 진우는 생각했다. 이제 부산은 단순히 과거의 기억이 아닌, 새로운 가능성의 도시로 보였다.En: Walking along the beach that night, Jinwoo thought about how Busan no longer felt like just a memory of the past but appeared as a city full of new possibilities.Ko: 친구들과의 인연이 무엇보다 소중하게 다가왔다.En: The ties with his friends felt more precious than anything.Ko: 진우는 마음의 벽을 허물고, 사람들과 더 많은 이야기를 나누고 싶다는 열망이 생겼다.En: Jinwoo felt a desire to break down the walls in his heart and share more stories with people.Ko: 해운대의 여름밤은 이렇듯 진우에게 새로운 시작을 안겨주었다.En: The summer night at Haeundae had given Jinwoo a new beginning like this. Vocabulary Words:vitality: 활기intently: 귀를 기울였다vendors: 상인들unfamiliar: 낯설게hesitated: 망설였다crowded: 가득whispers: 속삭임gradually: 점차relax: 긴장을 풀었다bright: 강렬한approached: 다가왔다inspiration: 영감lively: 활발한bustling: 시끌벅적한gallery: 미술관artworks: 작품들gazed: 바라보았다amazed: 놀랍다고perspective: 시각possibilities: 가능성ties: 인연precious: 소중하게desire: 열망walls: 벽share: 나누고pouring: 쏟아지는blended: 어우러졌다take a step: 발걸음을 옮기기living abroad: 해외 생활local: 현지

Welcome to Unpacked, Five Questions, a new series where we go behind the scenes of one great travel story. In this episode, host Katherine LaGrave sits down with Afar contributing writer Lisa Abend, who recently traveled to Sicily to investigate the viral phenomenon of European countries selling homes for one euro. Based in Copenhagen, Lisa explores what really happens after the headlines fade—both for the buyers chasing their dreams and the Sicilian communities welcoming newcomers. She shares what it's like to be an outsider in a tight-knit village, the reality behind those too-good-to-be-true property deals, and why the distinctively Sicilian spirit still dominates despite an influx of foreign buyers. On this episode you'll learn: The real story behind Sicily's one-euro house program and what buyers actually get for their money How small Sicilian towns are responding to an influx of foreign buyers and what "welcoming" really looks like Why most one-euro house purchases take much longer and cost far more than buyers expect Don't miss these moments: [02:30] Lisa's first impressions of Sambuca di Sicilia and the feeling of being watched as an outsider [04:15] The elderly café customer who seemed hostile but just wanted to ask about his New Jersey cousins [06:45] Danny McCubbin's journey from Jamie Oliver collaborator to Mussomeli community member—and dream crusher [09:20] Why buying a one-euro house doesn't guarantee a residence permit or the right to drive [12:10] The difference between one-euro ruins and Lisa's dream 50,000-euro house with pizza oven potential Resources Read Lisa's complete Afar story about Sicily's one-euro houses. Follow Lisa Abend on Instagram for more European travel insights. Subscribe to Lisa's newsletter, the Unplugged Traveler, where she explores Europe without using the internet. Next Episode Preview Join Katherine in two weeks when she speaks with Peggy Orenstein, author and Afar contributing writer, who traveled to Busan, South Korea, and discovered a new love for the "second cities of the world." Be sure to subscribe to the show and to sign up for our podcast newsletter, ⁠Behind the Mic⁠, where we share upcoming news and behind-the-scenes details of each episode. And explore our second podcast, ⁠Travel Tales⁠, which celebrates first-person narratives about the way travel changes us. Unpacked by Afar is part of ⁠Airwave Media⁠'s podcast network. Please contact ⁠advertising@airwavemedia.com⁠ if you would like to advertise on our podcast.

진행자: 김혜연, Chelsea ProctorBusan Concert Hall opens with finest talent, advanced infrastructure기사 요약: 이탈리아 라 스칼라 극장의 동양인 최초 예술감독인 지휘자 정명훈이 부산콘서트홀 개막 공연의 지휘를 맡아 관객들을 매료시켰다.[1] After Maestro Chung Myung-whun concluded Sunday evening's concert at the new Busan Concert Hall, he traced a circle in the air with his finger before gently tapping his heart — a gesture that seemed to acknowledge not only the musicians on stage but also the audience, who responded with a standing ovation.*trace 추적하다, 흔적을 만들다*ovation (열렬한) 박수[2] It was a moment of gratitude and recognition, shared by all present at a historic milestone in Busan's classical music journey. The city's long-awaited concert hall finally opened its doors last weekend.*recognition (공로 등에 대한) 인정, 표창*milestone 이정표, 중요한[획기적인] 단계*long-awaited 사람들이 오래 기다리던[3] Chung, who serves as the artistic director of Classic Busan, a municipal office of Busan Metropolitan City responsible for operating the Busan Concert Hall and the Busan Opera House, which is set to debut in 2027, took the podium three times over the weekend.*municipal 도시의, 자치 도시의, 시정의*take the podium 강단에 서다[4] Friday's performance was an invitation-only concert, attended by government officials and various dignitaries, many of whom were not seasoned classical music listeners, as evidenced by applause between movements.*seasoned 경험 많은, 노련한*evidenced by ...에 의해서 증명되어 있다.기사 원문: https://www.koreaherald.com/article/10515795[코리아헤럴드 팟캐스트 구독]아이튠즈(아이폰):https://itunes.apple.com/kr/podcast/koliaheleoldeu-paskaeseuteu/id686406253?mt=2네이버 오디오 클립(아이폰, 안드로이드 겸용): https://audioclip.naver.com/channels/5404팟빵 (안드로이드): http://www.podbbang.com/ch/6638

Min 4: FÓRMULA : LA PELÍCULA Dirigida por Joseph Kosinski (Top Gun: Maverick) y protagonizada por Brad Pitt, F1: The Movie se adentra a toda velocidad en el universo más competitivo y glamuroso del automovilismo mundial. Lejos de ser un simple espectáculo de coches y adrenalina, el filme mezcla con solvencia el drama humano y la tensión deportiva, siguiendo a un veterano expiloto (Pitt) que regresa a la parrilla para guiar a un joven talento, encarnado por Damson Idris, en una escudería ficticia llamada APXGP. La cinta, producida con el respaldo directo de la Fórmula 1 y en colaboración con equipos reales del campeonato, consigue capturar la espectacularidad y el vértigo de las carreras con una inmersión inédita. NOTA EDC: 3,5 estrellas Min 17: MEGAN 2 Tras el fenómeno viral que supuso M3GAN en 2023, la secuela M3GAN 2.0 llega con la misión de consolidar a la muñeca más inquietante de la era digital como icono del nuevo terror tecnológico. Dirigida por Gerard Johnstone y con guion de Akela Cooper y el respaldo creativo de James Wan y Blumhouse, esta nueva entrega eleva la apuesta con un tono más oscuro y una crítica más ácida hacia la dependencia de la inteligencia artificial en la infancia y la educación. NOTA EDC: 3 estrellas Min 23: PADRE NO HAY MÁS QUE UNO 5 Santiago Segura vuelve a vestirse de padre desbordado en la quinta entrega de la saga familiar más taquillera del cine español reciente. Padre no hay más que uno 5 sigue explotando la fórmula del caos doméstico con corazón, en una nueva aventura en la que Javier, el personaje de Segura, se enfrenta al reto más delirante hasta ahora: organizar la primera comunión de varios de sus hijos... al mismo tiempo que lidia con una mudanza y un inesperado embarazo. NOTA EDC: SC (SIN CALIFICAR) Min 28: RAMÓN Y RAMÓN Con un pie en la comedia absurda y otro en el realismo costumbrista, Ramón y Ramón se presenta como una de las propuestas más singulares del cine español reciente. Dirigida por Mateo Gil y protagonizada por Javier Cámara en un doble papel, la película plantea un delirante juego de espejos: un funcionario gris, apático y sin aspiraciones descubre que tiene un doble exacto que vive en su misma ciudad y cuya vida, lejos de la rutina, está marcada por la pasión, el caos y la provocación. NOTA EDC: 3,5 ESTRELLAS Min 31: LA PELÍCULA DE TU VIDA, CON ALBERTO LUCHINI Y coincidiendo con la recta final de esta temporada de Estamos de Cine llega el momento de escuchar a nuestros críticos de cabecera sorprendernos con la elección de la película de su vida. En este capítulo nos reservamos la carta de escuchar al maestro Luchini mirar atrás, remontarse al año 1978, para confesarnos qué título le conmovió de los pies a la cabeza y provocó un enamoramiento fulminante. Quienes le conocen apostarían por "El hombre tranquilo" o alguna película de Buñuel, pero no...nuestro Luchini nos pone patas arriba con un placer culpable para el recuerdo. Min 39; ESPECIAL BSO UNIVERSO ZOMBIE EN EL CINE Y aprovechando el éxito de "28 años después" y del regreso del subgénero zombi a las pantallas, le hemos propuesto a Ángel Luque recorrer algunas de las bandas sonoras más significativas que se han compuesto para aterrorizar, sugestionar, divertir o impactar en películas que han tenido en los muertos vivientes su gran baza argumental. Prepárate para escuchar temas vinculados a La noche de los muertos vivientes (1968, George A. Romero), Zombieland (2009, Ruben Fleischer), Guerra Mundial Z (2013, Marc Forster), Train to Busan (2016, Yeon Sang-ho) o la mencionada 28 años después (Danny Boyle 2025).

A GAME OF KILLER HIDE AND SEEK!! Squid Game Season 3 Full Reaction Watch Along:   / thereelrejects   Visit https://huel.com/rejects to get 15% off your order The FINAL Season is here & it's time for our Squid Game Season 3 Reaction, Recap, Breakdown, Commentary, Spoiler Review & ending explained!! Greg Alba & John Humphrey return to the dystopian playground in Netflix's final and explosive Squid Game season, with Episodes 1 & 2 premiering June 27, 2025. After the violent uprising of Season 2, Season 3 opens with Seong Gi‑hun (Lee Jung‑jae, Train to Busan), dubbed Player 456, wheeled back in via a coffin in a chilling first scene. Haunted by survivor's guilt, he's emotionally shattered and driven by the crushing need for justice and revenge. The two episodes thrust us into a deranged version of “Hide-and-Seek,” with red and blue teams battling for life, intensified by cold psychological stakes. Gi‑hun's fractured alliance with Dae-ho (Kang Ha‑neul, Forgotten, Midnight Runners) and the return of detective Jun-ho (Wi Ha‑joon, Money Heist, Something in the Rain) deepens the narrative. Jun-ho's quest continues as he searches for his brother, the enigmatic Front Man (Lee Byung‑hun, G.I. Joe, Masters of the Universe)—infiltrating both the games and the inner workings of the Institute. Standout moments include: Gi‑hun's silent breakdown and explosive confrontation with Dae‑ho, The grotesquely thrilling Hide-and-Seek game, Jun‑ho's investigative breakthrough and near-encounter with betrayals inside the Island's power structure, & more! Main cast stars include Lee Jung‑jae as Gi‑hun, Lee Byung‑hun as the Front Man, Wi Ha‑joon as Jun‑ho, Kang Ha‑neul's cunning Dae‑ho, Park Gyu‑young as No‑eul, Im Si‑wan, Park Sung‑hoon, Jo Yu‑ri, and more, bringing fresh tension and emotional arcs to the final season. This gritty, emotionally haunted premiere sets the tone for a savage descent into the games' conclusion. Join Greg & John as they unpack every twist, alliance, and horrifying moment in Squid Game's last season! Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

CAN GI HUN PROTECT 222?? Squid Game Season 3 Full Reaction Watch Along:   / thereelrejects   With the FINAL EPISODES of the series upon us, Squid Game Season 3 Episode 5 Reaction, Recap, Breakdown, Commentary, Spoiler Review & ending explained!! Greg Alba & John Humphrey return for another high-stakes showdown in Squid Game Season 3 as Episode 5 debuts on Netflix. The final rounds begin with unexpected twists and testing reveals that raise the tension even higher. This episode centers on the final eight contestants awakening and preparing for the last games. A masked guard (Guard 11, played by Park Gyu-young – Netflix's Squid Game, Lovecraft Country) shows fierce resistance, defying orders and protecting Player 246—creating an early emotional jockeying for power. Meanwhile, Jun-ho (Wi Ha-joon – Money Heist, Something in the Rain) pilots Player 246's rescue boat through dense fog, receiving a chilling warning from his brother, the Front Man (Lee Byung-hun – G.I. Joe, Masters of the Universe), instructing him to abandon the mission—or else... Back on the island, the final players ascend a towering stairwell toward the last game, Control Room tensions, high-stakes defiance, and the true cost of resistance. Guard 11's bold stand in the corridors and Harrowing whispers of final eliminations set a grim tone that weighs on every character's fate. With only half the contestants left, alliances are tested and gut instincts kick in. Notable scenes include the powerful showdown between guarded empathy and brutal rule, and a cliffhanger hinting at the brutal final format of Episode 6. Squid Game veterans Seong Gi-hun (Lee Jung-jae – Train to Busan), Front Man (Lee Byung-hun), and Jun-ho return, joined by returning allies Dae-ho (Kang Ha-neul) and Cho Hyun-ju (Park Sung-hoon), plus emerging players like Park Gyu-young as Guard 11—all amplifying the emotional stakes. Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

This week the ghouls discuss Romero's iconic zombie classic, Night of the Living Dead. From wiki: “Night of the Living Dead is a 1968 American independent zombie horror film directed, photographed, and edited by George A. Romero, written by Romero and John Russo, produced by Russell Streiner and Karl Hardman, and starring Duane Jones and Judith O'Dea. The story follows seven people trapped in a farmhouse in rural Pennsylvania, under assault by flesh-eating reanimated corpses. Although the monsters that appear in the film are referred to as "ghouls", they are credited with popularizing the modern portrayal of zombies in popular culture.”Also discussed: Drusilla's new house, Clash of the Titans and Ray Harryhausen, Showgirls and gay people, Pavements the Pavement doc, Train to Busan, Diary of the Dead, Army of the Dead, World War Z, Dawn of the Dead, Shaun of the Dead, and more! NEXT WEEK: Tenebrae (1982) Bloodhaus:https://www.bloodhauspod.com/https://www.instagram.com/bloodhauspod/https://letterboxd.com/bloodhaus/Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/‪@sisterhyde.bsky.social Joshua Conkelhttps://www.joshuaconkel.com/https://bsky.app/profile/joshuaconkel.bsky.socialhttps://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/  

In this episode of Horror Hour with the Hanna's, we take a high-speed plunge into Train to Busan (2016), the South Korean zombie thriller that redefined the genre. Directed by Yeon Sang-ho, this film isn't just a nail-biting horror ride—it's a brutal look at humanity under pressure, social division, and what it really means to protect the ones you love.We break down the film's kinetic pacing, heartbreaking character arcs, and masterful use of confined space to ratchet up tension. From the emotionally distant Seok-woo to the fan-favorite Sang-hwa (aka WIFE GUY aka the punching MVP of the undead), we explore how Train to Busan delivers both gore and gut-punches. We also talk about the film's deeper themes of sacrifice, selfishness, and survival—and whether the tears at the end were earned or engineered.Hop on board as we discuss one of the most gripping zombie films of the 21st century—and why Train to Busan still hits like a runaway train.Follow Us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: @horrorhourwiththehannasMusic by Aries Beats - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/watch?v=DPpnxLYrzVA⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Le storie di oggi sono due scomparse assurde e avvolte nel mistero: quella di Liu Huijun sparita con la figlia a Taiwan e quella di Choi Sung Hee e Jeon Min Geun, svaniti a Busan.Come sempre le fonti che abbiamo usato per mettere insieme questo episodio sul nostro ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠sito⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

This Devotional address with Casey Puzey was delivered on June 10th at 11:30 AM MST in the BYU-Idaho I-Center. Casey was raised in Sugar City, Idaho, and served a mission in Busan, South Korea. He received his associate degree in psychology from Ricks College, a bachelor's degree in psychology from Idaho State University, and a master's degree in counseling from Idaho State University. Casey has worked in the Student Honor Office for almost 11 years. He married Diana Gee in 1996. They have four children and four grandsons. Casey loves pickleball, fishing, and making big plans to travel the world someday.

If there was a zombie apocalypse and they acted like the zombies in this movie, Mike and Brandon would be dead pretty quick. Likely, Mike would be dead first. But only after Brandon bravely sacrificed Mike in the sake of his own safety. Only to die moments later after his crackity ankle gives out on him.In this episode, we discuss the 2016 movie, Train to Busan. Directed by Yeon Sang-ho. Starring Gong Yoo, Ma Dong-seok, Yeon Sang-ho, and Jung Yu-mi. It is available on Netflix.You can request movies by emailing us at specrapular@gmail.comGo follow our Youtube channel where ALL of our episodes are posted now: ⁠⁠Specrapular⁠ ⁠(https://www.youtube.com/channel/UC0ppqS8Japy4yT4cVfcGEKw)The next movie we are going to discuss is, Macgruber, from 2010. Directed by Jorma Taccone. Starring Will Forte, Ryan Phillippe, Kristen Wiig, and Val Kilmer (RIP). It is available on Netflix.Intro music by: Luis Find more music from Luis at: instagram.com/breatheinstereSeason 8 Episode 7

Your Nightly Prayer

Following months of political turmoil, South Korea chooses a new president. We get a view of the results from key cities of Seoul and Busan. Plus: We unpick Meloni and Macron's meeting in Rome and London’s Serpentine Pavilion is revealed.See omnystudio.com/listener for privacy information.

Send us a topic!!!!Ever tried to name your top five movies of all time? The struggle is real, and in this episode, we attempt the impossible while digging into what makes certain films stick with us forever. Our journey begins with a brutally honest take on "Warfare," a film many critics crowned as this year's masterpiece. We break down why this supposedly tension-filled war drama left us completely underwhelmed, questioning whether every true story deserves the big-screen treatment. This sparks a larger conversation about what truly makes a cinematic experience memorable – is it emotional resonance, unexpected storytelling, or something else entirely?The conversation flows naturally into our own movie obsessions, from Sandra Bullock's underrated gem "Murder by Numbers" to beloved classics like "The Bone Collector" and "Cape Fear." We share those comfort films we'd watch on repeat (hello, "Dracula Untold" and "Train to Busan") and why certain actors like Ryan Gosling never quite hit "great" status despite solid performances. Our mutual appreciation for Daniel Craig's James Bond leads to a confession: his portrayal was so perfect that earlier Bond films now feel like pale imitations.Korean productions receive special attention as we celebrate shows like "Night Agent," "All of Us Are Dead," and "Hellbound," examining why international content often takes creative risks American productions shy away from. We even touch on the political implications of overseas filming and why certain countries produce consistently innovative entertainment.Want more recommendations? We've got them – from zombie outbreaks to fantasy worlds, from thrillers to underrated comedies. Drop us a comment with your own impossible top five movie list or tell us if you've watched "Eastbound and Down" yet. Because while we might not always talk movies on this podcast, when we do, we absolutely Talk That Shit.Support the show

Mysteriös lächelnde K-Pop-Stars flimmern auf riesigen digitalen Werbetafeln, der mitreißende Sound schallt durch Metrogänge und Einkaufszentren: die südkoreanischen Großstädte wie Busan und Seoul sind von der Popmusik der Boy und Girl-Groups geprägt. Christine Siebert ist mit ihrer 23-jährigen Tochter Magdalena, einem K-Pop-Fan, in der südkoreanischen Pop-Szene unterwegs. Die beiden shoppen in den zahlreichen K-Pop-Läden und geraten sogar auf die Geburtstagsparty des K-Pop-Idols Yuna, einem Star von Magdalenas Lieblingsgruppe Itzy! Yuna ist auf dem Event zwar nicht persönlich anwesend, aber ihre Fans verteilen jede Menge Fotokarten, Sticker und andere Goodies: überall Yuna wie sie ein Victory-Zeichen macht, sich die Haare aus dem Gesicht streicht oder eine Brille aufprobiert. Auf dieser Reise durch die K-Pop-Welt erfahren die beiden: K-Pop ist Gute-Laune-Musik, kann aber auch gesellschaftskritisch daherkommen. Und so cool sich die Stars auch in Videoclips und auf Postern geben, ihr Alltag ist alles andere als lässig: die Konkurrenz zwischen den Gruppen ist knallhart, und die Idols müssen perfekt in enge Moral- und Schönheitsvorstellungen passen. Die koreanische Jugend liebt aber nicht nur Pop, sondern auch uralte Traditionen: Junge Männer mit hohen antiken Hüten, junge Frauen in Reifröcken und Spitzenstolas wandeln durch die Gärten der alten Königspaläste. Der Kostümverleih boomt rund um die ehrwürdigen Gemäuer. Traditionen und Jahrtausende alte Geschichte sind in diesem supermodernen Land allgegenwärtig.

HORROR WITH SIR. STURDY EP 552 SEOUL STATION (2016) REVIEW & THE OUTBREAK BEFORE THE TRAIN   What's good, Horror Fam?! Tonight on Horror With Sir. Sturdy, we're takin' it back to where the infection began with a deep dive into Seoul Station (2016)—the animated prequel to Train to Busan.   This film packs all the tension, heartbreak, and horror you'd expect from the franchise, but through the unique lens of animation. It's gritty, socially charged, and completely underrated.   Joining me for this one:

Send us a textA jam-packed weekend of CrossFit Games Semifinal competition is in store starting this Friday. A total of 12 athletes will secure their spot at the 2025 Games in Albany, NY. After previewing Torian Pro last week, Brian and PC return to discuss the three other Semifinals that will happen this weekend, which include eight Game invitations. The weekend starts first in Busan, Korea, for the fourth installment of the Far East Throwdown. Next up is the REBEL Renegade Games in Vanderbijlpark, South Africa. Each day of competition ends with the Syndicate Crown, held in Knoxville, Tennessee.Brian goes through his predictions on how he feels the leaderboards will end up in those competitions and offers additional insights on what to watch for.Please consider donating to Dusty and his family as he recovers in the aftermath of a recent medical emergency:https://www.spotfund.com/story/2b351b...Visit us on our website at bfriendlyfitness.comConnect with us on Instagram BFriendly on Instagram Brian on Instagram PC on Instagram Today's episode is brought to you by Home Grown ReleafMake sure you go check out the best CBD product out there, Home Grown Releaf, who is back as our podcast sponsor for 2025!HGR Website: https://hgrcbd.com/Use code "FRIEND20" to get 20% off your purchase

Il 3 giugno si vota in Corea del Sud, dopo la drammatica parabola verso l'abisso di Yoon Sui-yeol, l'ex presidente che dopo aver proclamato la legge marziale è stato arrestato, sottoposto a impeachment e quindi destituito. Al voto si va tra polarizzazione, paura e novità legate al modo di comunicare dei candidati, tre uomini, alla presidenza. Gli inserti audio della puntata sono tratti da: 어린이날 밤 한동훈입니다, canale Youtube 한동훈, 5 maggio 2025; 진짜 대한민국까지 , canale Youtube 이재명, 25 maggio 2025; South Korea opposition chief Lee Jae-myung stabbed in neck during visit to Busan, CNA, 2 gennaio 2024; 이제부터 진짜 대한민국, canale Youtube 이재명, 13 maggio 2025; Kim Moon-soo kicks off campaign, KBS Korea, 12 maggio 2025; Reform Party's Lee on Election Campaign Plans, Bloomberg Tv, 7 aprile 2025. Learn more about your ad choices. Visit megaphone.fm/adchoices

A child with special abilities? Since this movie came out before X-Men, does this make it the first mutant movie? This show thinks so.In this episode, we discuss the 1996 movie, Matilda. Directed by Danny Devito. Starring Mara Wilson, Danny Devito, Rhea Perlman, Embeth Davidz, and Pam Ferris. It is available on Netflix.You can request movies by emailing us at specrapular@gmail.comGo follow our Youtube channel where ALL of our episodes are posted now: ⁠⁠Specrapular⁠ ⁠(https://www.youtube.com/channel/UC0ppqS8Japy4yT4cVfcGEKw)The next movie we are going to discuss is, Train to Busan, from 2016. Directed by Yeon Sang-ho. Starring Gong Yoo, Ma Dong-seok, Yeon Sang-ho, and Jung Yu-mi. It is available on Netflix.Intro music by: Luis Find more music from Luis at: instagram.com/breatheinstereSeason 8 Episode 6

The Wailing is a movie about a cop who is bad at being a cop, a kid who is great at being possessed, and a steep hill that will absolutely kick your ass no matter who you are.Ted Anderson is here to discuss this moody Korean masterpiece with us as we all desperately grasp for any clue of what might be going on. One thing is for sure though, this is a real feel bad movie and at three hours long, you'll still be feeling bad the next day too!Director: Na Hong-jin Writers: Na Hong-jin Stars: Kwak Do-won, Hwang Jung-min, Chun Woo-here, Jun KunimuraRecommendations: Ted - SirenEmily- SeveranceBen - Train to BusanJeremy - Chainsaw Man Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Our final two matchups of the bracket are Deathdream vs. The Battery and Train to Busan vs. Savageland. Three American indies, one Korean blockbuster. How greatly is vision limited by budget? As usual, we focus on the eliminated films but highlight what they have to offer.

This week we watched Train to Busan (2016) and discuss late-stage capitalism, a zombified deer, and the first zombie train chain gang?!?!Our plot discussion begins at 15:19Content warning: We love horror and want everyone to enjoy it accessibly and safely. In general, assume we may talk about violence, gore, death, and scary situations. We provide a customized content warning about the movie for each episode during the episode, before launching into the plot. If you have particular triggers, please check the movie on doesthedogdie.com.

Comment on this episode by going to KDramaChat.comToday, we'll be discussing Episode 8 of When Life Gives You Tangerines, the hit K Drama on Netflix starring IU as Oh Ae-sun and Park Bo-gum as Yang Gwan-sik as young adults, and Moon So-ri as Oh Ae-sun and Park Hae-joon as Yang Gwan-sik as older adults. We discuss:The song featured during the recap: My Love by My Side by Isaac Hong, a gorgeous acoustic ballad performed with only guitar, piano and voice.The full-circle moment when Ae-sun and Gwan-sik's past kindness saves their daughter Geum Myeong from a false accusation nearly 20 years later.Guilt and obligation between parents and children, especially how Geum Myeong's guilt leads to emotional distance from her loving parents.Geum Myeong's awful experience at the police station, reminiscent of her mother's experience at the Busan police station 20 years earlier.Gwan-sik's efforts to connect with his daughter, waiting all day to see her in Seoul and facing her rejection with grace.Ae-sun's sacrifice: abandoning her dream of opening a café so Geum Myeong can study abroad in Japan.The museum that Gwan sik visited, which is probably the Independence Hall of Korea and the historical context of the 1987 democratic elections in Korea.The heartbreaking memory of little Geum Myeong waving to her father, and how a grown-up Geum Myeong's wave brings Gwan-sik to tears.How Gwang Rye, in Ae sun's dream, is still giving Ae sun advice how to discuss the death of Dong Myeong with Gwan sik.Ae-sun finally winning the poetry contest after years of longing, thanks to the haenyeos' secret submission of her poem.The mysterious wedding scene where Geum Myeong is sobbing—who is she marrying and why is she so sad?Reflections on “gaman,” a Japanese concept of enduring hardship with grace, and how it defines both Ae-sun and Gwan-sik's character.Park Hae-joon's transformation from the "nation's adulterer" to the "nation's romantic lead," and how playing Gwan-sik changed his personal outlook on his marriage and life with his wife.ReferencesIndependence Hall of Korea - Wikipedia1987 South Korean presidential election - Wikipedia

This week, Daniel and Jun reflect on the small routines and habits that shape daily life—and how those ordinary moments reveal cultural contrasts between Korea and America. From elevator etiquette to bike-riding, math education to parenting styles, they explore how values like speed, structure, and success show up in the simplest of places. They also touch on entrepreneurship in Korea, screen time for kids, and the cultural weight of words like “macho(맞죠)” and “oriental.”If you're interested in how everyday details—like drawing maps, riding bikes, or doing math homework—can reveal deeper societal values, tune in to hear Daniel and Jun discuss all this and more.Support the showAs a reminder, we record one episode a week in-person from Seoul, South Korea. We hope you enjoy listening to our conversation, and we're so excited to have you following us on this journey!Support us on Patreon:https://patreon.com/user?u=99211862Follow us on socials: https://www.instagram.com/koreanamericanpodcast/https://twitter.com/korampodcasthttps://www.tiktok.com/@koreanamericanpodcastQuestions/Comments/Feedback? Email us at: koreanamericanpodcast@gmail.com

At a certain point, most of us settle into a groove with our pop culture consumption. We know what we love and what we're not into. But sometimes, all it takes is one great outlier or a willingness to step outside our comfort zone to make us reconsider what we don't like. Today we're talking about our pop culture revelations, including Friday Night Lights, Train to Busan, the poetry of Mary Oliver, and Watchmen.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

In this episode of The Killer Point Of View Podcast, we dive into the hauntingly quiet world of John Krasinski's 2018 horror film A Quiet Place. We kick things off by asking: what are some of the most unforgettable opening scenes in horror history—and does A Quiet Place earn a spot on that list?From there, we explore the film's massive impact on the genre, discuss whether we'd survive in a world where sound equals death, and how such a terrifying reality would change our everyday lives. Is A Quiet Place just another monster movie, or is there a deeper meaning hidden beneath the silence?We also break down the film's most intense moments, debate whether we'd rather live in a soundless world or a zombie-infested one like Train to Busan, and ask: has this film changed the way you think about sound?Plus, we share some behind-the-scenes facts, ratings, our personal recommendations, and announce what film we're covering next. Don't make a sound… just hit play.

This episode we will discuss various embassies to and from Yamato during the reign of Takara Hime, with a particular focus on the embassy of 659, which occured at a particularly eventful time and happened to be extremely well-recorded fro the period by Iki no Hakatoko, who was apparently on the mission to the Tang court itself. For more, check out our blog post at: https://sengokudaimyo.com/podcast/episode-123 Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua, and this is episode 123: Embassy Interrupted.   Iki no Hakatoko sat in his room, gazing out at the city.   It was truly an amazing place, filled with all kinds of people from around the world.  And yet, still, after 9 months of confinement, the place felt small.  Sure, there he hadwere visits from ranking nobles and dignitaries, but even the most lenient of house arrests was still house arrest. But that didn't mean that he had nothing to do.  There were books and more that he had access to—many that had not yet made it to the archipelago, and some of which he no doubt hoped he could bring back with him.  And of course, there was paper, brush, and ink. And then there were the experiences he and others had acquired on this mission to the Great Tang.  From the very beginning the missionit washad been plagued with disaster when they lost half of their ships and company mission to rogue winds on the open seas.  Now they were trapped because the Emperor himself wouldn't let them return home.  They had experienced and seen so much, and that provided ample material for one to catalogue. As the seasons changed, and rumors arrived that perhaps his situation would also something would change soon, Iki no Hakatoko spread out the paper on the desk in front of him, dipped his brush in the ink, and began to write.  He wrote down notes about his experiences, and what had befallen him and the others.  He had no idea who It is unclear whom he thought might read it, and if he was intending this to be an official or personal record, but he wrote it down anyway. Hakatoko He couldn't have known then that his words would eventually be captured in a much larger work, chronicling the entire history of Yamato from its very creation, nor that his would be one of the oldest such personal accounts records to be handed down.  His Itwords  wwould only survive in fragments—or perhaps his writing was simply that terse—but his words they would be preserved, in a format that was still being read over a thousand years later.     Last episode we finished up the story of Xuanzang and his Journey to the West—which is to say the Western Regions -- , and thence on to India, or Tianzhu, where he walked in the footsteps of the historical Buddha, studied the scriptures at the feet of venerable teachers, such as Silabadhra at the Great Monastery of Nalanda, and eventually wound up bringingbrought back hundreds of manuscripts to Chang'an to , which he and others be translated and disseminated, impacting Buddhist thought across East Asia.  HisXuanzang's travels lasted from around 629 to 645, and he was still teaching in Chang'an in the 650s when various student-monks from Yamato  arrived to study and learn from him, eventually bringing back his teachings to the archipelago as part of the Faxiang, or Hossou, school of Buddhism. Before that we talked about the visitors from “Tukhara” and “Sha'e” recorded in the Chronicles.  As we noted, these peopley were morest likely from the Ryukyuan islands, and the names may have been conflated with distant lands overseas – but regardless, .  Whether or not it was a mistake, this it does seem to indicated that Yamato had at least an inkling of the wider world, introduced through the continental literature that they had been importing, if not the direct interactions with individuals from the Korean peninsula and the Tang court. This episode, we're going to talk about some of the relations between Yamato and the continent, including the various embassies sent back and forth, as well as one especially detailed embassy from Yamato to the Tang Court that found itself in a bit of a pickle.  After all, what did you do, back in those days, when you were and ambassador, and your country suddenly went to war?  We'll talk about that and what happened. To reorient ourselves in time, we're in the reign of Takara Hime, called aka Kyogoku Tennou during her first reign, who had reascended to the throne in 655, following the death of her brother, Prince Karu.  The Chroniclers would dub her Saimei Tennou in her second run on the throne. From the very beginning of her second reign, Takara Hime was entertaining foreign envoys.  In 654, the Three Han of the Korean Peninsula—Goguryeo, Baekje, and Silla—all sent ambassadors to express their condolence on the death of her brother, and presumably to witness her ascension.  And in the 8th month of her reign, Kawabe no Maro no Omi, along with others, returned from Chang'an.  He Kawabe no Maro no Omi had been the Chief Ambassador to the Tang on an embassy sent , traveling there in the 2nd month of the previous year.  Originally he had been He was under the command of the controlling envoy, Takamuku no Obito no Kuromaro, but Kuromaro who unfortunately died in Chang'an and so Kawabe no Mari no Omi took over his role. That same year, 655, we know that there were about 100 persons recorded in Yamato from Baekje, along with envoys of Goguryeo and Silla.  These are likely the same ones we mentioned back in episode 117 when 150 Baekje envoys were present at court along with multiple members of the Emishi. Silla, for their part, had sent to Yamato a special hostage , whom we know as something like “Mimu”, along with skilled workmen.  Unfortunately, we are told that Mimu fell ill and died.  The Chronicles are pretty sparse on what this meant, but I can't imagine it was great.  After all, the whole idea of sending a hostage to another nation was as a pledge of good behavior – the idea being that the hostage was the idea that they werewas valuable enough that the sending nation wouldn't do anything too rash.  The flip side of that is if the hostage died, Of course, if they perished, the hosting country lost any leverage—and presumably the sending nation would be none too pleased.  That said, people getting sick and passing away was hardly a hostile action, and likely just considered an unfortunate situation. The following year, in 656, we see that Goguryeo, Baekje, and Silla again all sent ambassadords were all sent to offer “tribute”.  The Chronicles mention that dark purple curtains were drawn around the palace site to entertain the ambassadors—likely referring to the new palace site at Asuka no Wokamoto, which probably was not yet fully built out, yet.   We are given the name of the Goguryeo ambassador, Talsa, and associate ambassador, Ilchi,  in the 8th month, Talsa and Ilichi, with 81 total members in the Goguryeo retinueof the embassy.  In seeming response, Yamato sent an embassy was sent to Goguryeo with the likes of Kashiwade no Omi no Hatsumi as the Chief Ambassador and Sakahibe no Muraji no Iwasuki as the Associate Ambassador.  Other names mentioned include We also see the likes of Inugami no Shiromaro, Kawachi no Fumi no Obito—no personal name is given—and Ohokura no Maro.  We also see thea note in the Chronicles that Yamato ambassadors to the quote-unquote “Western Sea”—which seems to refer to the Tang court, but could possibly refer to anything from the Korean Peninsula west—returned in that same year.  The two are named as Saheki no Muraji no Takunaha and Oyamashita no Naniha no Kishi no Kunikatsu.  These are both families that were clearly involved in cross-strait relations , based on how they are frequently referenced in the Chronicles as being associated with various overseas missions.  but  However, we don't seem to have clear evidence of them when these particular individualsy leavingft on this mission.  “Kunikatsu” mightay refer to an earlier ambassador to Baekje, but the names are different, so that is largely just speculation.  In any case, Uupon their return, they are said to have brought with them a parrot.  This wasn't the first parrot the court had seen—that feathery traveler had arrived in 647, or at least that is the first parrotinstance  we have in the written record -- .  Aand that one came from Silla as part of that embassy's gifts. Continuing on, in 657, The following year there was another group of ambassadors returned coming  from the “Western Seas”, in this case coming back from—or through—Baekje.  Thisese wasere Adzumi no Muraji no Tsuratari and Tsu no Omi no Kutsuma.  The presents they brought back were, of all things:  one camel and two donkeys.  And can you imagine bringing a camel back across the sea at this point?  Even if they were using the larger ships based on continental designs, it still must have been something else to put up with a camel and donkeys onboard, animals that are not exactly known for their easy-going and compliant nature. Speaking of boats, we should probably touch on what we *think* they were usinghas been going on here.  I say *think* because we only get glimpses  of the various boats being used in the archipelago, whether from mentions in or around Yamato, archaeology, or artistic depictions, many of which came from later periods., and wSo while it is generally assumed that they the Yamato were using Tang style vessels by the 8th and 9th century, there does not appear to be clear evidence of exactly what kind of boats were being used during the early earlier periods of contact. A quick note on boat technology and navigation: while travel between the Japanese archipelago and the Korean Peninsula, and up the Yellow Sea, wasn't safe, it would have been possible with the vessels of the time.  Japan sits on the continental shelf, meaning that to the east where the shelf gives way to the Pacific Ocean with the Phillippine Sea to the south, the waters are much, much deeper than they are to the west.  In deep waters, waves are not necessarily affected by the ocean floor, meaning they can build up much more energy and require different kinds of technology to sail.  In shallower areas, such as the Sea of Japan, the Yellow Sea, the East China Sea or the Korean Straits to the west of the archipelago, there's more drag that dampens out the wave effect – it's not that these areas are uniformly shallow and calm, but they are calmer and easier to navigate in general.  Our oldest example of boats in the archipelago of any kind are dugout canoes, .  These are logs that are hollowed out  and shaped. , and tThese appear to be what Jomon era populations used to cross to the archipelago and travel between the various islands.  Though they may be considered primitive, without many of the later innovations that would increase stability and seaworthiness—something I'll touch on more a bit later—, they were clearly effective enough to populate the islands of the Ryukyuan chain and even get people and livestock, in the form of pigs, down to the Hachijo islands south of modern Tokyo.    So they weren't ineffective. Deep waters mean that the waves are not necessarily affected by the ocean floor.  Once it hits shallower water, there is more drag that affects larger waves.  This means that there can be more energy in these ocean waves.  That usually means that shallower areas tend to be more calm and easier to navigate—though there are other things that can affect that as well. We probably should note, however, that Japan sits on the edge of the continental shelf.  To the west, the seas are deep, but not nearly as deep as they are to the east, where continental shelf gives way to the Pacific ocean, with the Philippine Sea to the south.  These are much deeper waters than those of the Yellow Sea, the East China Sea, or the Korean Straits.  The Sea of Japan does have some depth to it, but even then it doesn't compare in both size and depth. Deep waters mean that the waves are not necessarily affected by the ocean floor.  Once it hits shallower water, there is more drag that affects larger waves.  This means that there can be more energy in these ocean waves.  That usually means that shallower areas tend to be more calm and easier to navigate—though there are other things that can affect that as well. All this to say that travel between the Japanese archipelago and the Korean Peninsula, and up the Yellow Sea, were all things that were likely much easier to navigate with the vessels available at the time, but that doesn't mean that it was safe. Later, we see a different type of vessel appear: .  This is a built vessel, made of multiple hewn pieces of wood.  The examples that we see show a rather square front and back that rise up, sometimes dramatically, .  There are with various protrusions on either side. We see examples of this shape , and we've seen examples in haniwa from about the 6th century, and we have some corresponding wooden pieces found around the Korean peninsula that pretty closely match the haniwa boat shapesuggest similar boats were in use there as well, .  Nnot surprising given the cultural connections.  These boats do not show examples of sails, and were likely crewed by rowers.  Descriptions of some suggest that they might be adorned with branches, jewels, mirrors, and other such things for formal occasions to identify some boats as special -- , and we even have one record of the rowers in ceremonial garb with deer antlers.  But none of this suggests more than one basic boat typevery different types of boats. In the areas of the Yellow and Yangzi rivers, area of modern China, particularly in the modern PRC, the boats we see are a little different.  They tend to be flat bottomed boats, possible evolved from  which appear to have been designed from rafts or similar .   These vessels would have evolved out of those used to transport goods and people up and down the Yellow and Yangzi rivers and their tributaries.  These boats y had developed sails, but still the boats wwere n'ot necessarily the most stable on the open ocean.  Larger boats could perhaps make their way through some of the waves, and were no doubt used throughout the Yellow Sea and similar regions.  However, for going farther abroad, we are told thatcourt chronicles note that there were other boats that were preferred: . These are sometimes called  the Kun'lun-po, or Boats of the Kunlun, or the Boats of the Dark-skinned people.  A quick dive here into how this name came to be. Originally, “Kunlun” appears to refer to a mythical mountain range, the Kunlun-shan, which may have originated in the Shan-hai-jing, the Classic of Mountains and Seas, and so may not have referred to anything specific terrestrial mountain range, ally.  Italthough the term would later attach be used to describe to the mountain chain that forms the northern edge of the Tibetan plateau, on the southern edge of the Tarim Basin. However, at some point, it seems that “Kunlun” came to refer to people -- .  Sspecifically, it came to refer to people of dark complexion, with curly hair.  There are Tang era depictions of such people, but their origin is not exactly known: it might .  It is thought that it may have have equally referred to dark-skinned individuals of African descent, or possibly referring to some of the dark-skinned people who lived in the southern seas—people like the Andamanese living on the islands west of modern Thailand or some of the people of the Malay peninsula, for example. It is these latter groups that likely were the origin, then, of the “Kun'lun-po”, referring to the ships of the south, such as those of Malay and AsutronesianAustronesian origin.  We know that from the period of at least the Northern and Southern Dynasties, and even into the early Tang, these foreign ships often , which were often plyingied the waters from trade port to trade port, and were the preferred sailing vessels for voyages to the south, where the waters could be more treacherous.  Indeed, the Malay language eventually gives us the term of their vessels as “Djong”, a term that eventually made its way into Portuguese as “Junco” and thus into English as “junk”, though this terms has since been rather broadly applied to different “Asian” style sailing vessels. So that leaves us with three ship types that the Yamato court could have been using to send these embassies back and forth to the continent: .  Were they still using their own style of native boat as seen on haniwa,, or were they adopting continental boats to their needs?   If so, were they using the flat-bottomed boats of the Tang dynasty, or the more seaworthy vessels of the foreign merchants?. Which were they using?  The general thinking is that IMost depictions I have seen of the kentoushi, the Japanese embassies to the Tang court, depict them as t is generally thought that they were probably using the more continental-style flat-bottomed, riverine vessels.  After all, they were copying so much of what the Sui and Tang courts were doing, why would they not consider these ships to likewise be superior to their own?  At least for diplomatic purposes.  I suspect that local fishermen did their own were keeping their own counsel as far as ships are concernedthing, and I also have to wonder about what got used they were using from a military standpoint for military purposes.  Certainly we see the Tang style boats used in later centuries, suggesting that these had been adopted at some earlier point, possibly by the 650s or earlier. Whatever they used, and while long-distance sailing vessels could Sailing vessels could be larger than short-distance riverine craft, this was not a luxury cruise.  , but conditions on board were not necessarily a luxury cruise.  From later accounts we know that they would really pack people into these shipspeople could be packed in.  It should be noted that individual beds and bedrooms were a luxury in much of the world, and many people probably had little more than a mat to sleep on.  Furthermore, people could be packed in tight.   Think of the size of some of these embassies, which are said to be 80 to 150 people in size.  A long, overseas journey likely meant getting quite cozy with your neighbors on the voyage.  So how much more so with a camel and two donkeys on board a vessel that was likely never meant to carry them?  Not exactly the most pleasant experience, I imagine – and this is not really any different than European sailing vessels during the later age of exploration.. So, from the records for just the first few years of Takara-hime's second reign, we see that there are lots of people going back and forth, and we have a sense of how they might be getting to and from the continent and peninsula.  Let's dive into Next, we are going to talk about one of the most heavily documented embassies to the Tang court, which set out in the 7th month of the year 659.  Not only do we get a pretty detailed account of this embassy, but we even know who wrote the account: as in our imagined intro, , as this is one of the accounts by the famous Iki no Muraji no Hakatoko, transcribed by Aston as “Yuki” no Muraji. Iki no Hakatoko's name first appears in an entry for 654, where he is quoted as giving information about the status of some of the previous embassies to the Tang court.  Thereafter, various entries are labeled as “Iki no Muraji no Hakatoko says:”, which   This would seem to indicate that these particular entries came are taken directly from another work written by Iki no Hakatoko and referred to as the “Iki Hakatoko Sho”.  Based on the quoted fragments found in the Nihon Shoki, itthis appears to be one of ourthis oldest Japanese travelogues.  It , and spends considerable time on the mission of 659, of which it would appear that Iki no Hakatoko was himself a member, though not a ranking one.  Later, Iki no Hakatoko would find himself mentioned in the Nihon Shoki directly, and he would even be an ambassador, himself. The embassy of 659 itself, as we shall see, was rather momentous.  Although it started easily enough, the embassy would be caught up in some of the most impactful events that would take place between the Tang, Yamato, and the states of the Korean peninsula. This embassy was formally under the command of Sakahibe no Muraji no Iwashiki and Tsumori no Muraji no Kiza.  It's possible In the first instance it is not clear to me if this isthat he is the same person as the previously mentioned associate envoy, Sakahibe no Iwasuki—but the kanji are different enough, and there is another Sakahibe no Kusuri who shows up between the two in the record.  However, they are both listed as envoys during the reign of Takara Hime, aka Saimei Tennou, and as we've abundantly seen, and it wouldn't be the first time that scribal error crept in. has taken place, especially if the Chroniclers were pulling from different sources. The ambassadors took a retinue with them, including members of the northern Emishi, whom they were bringing along with them to show to the Tang court.  TheThey also  embassy ttook two ships—perhaps because of the size of the retinue, but I suspect that this was also because if anything happened to the one, you still had the other.  A kind of backup plan due to the likelihood something went wrong.  And wouldn't you know it, something did go wrong.  You see, things started out fine, departing Mitsu Bay, in Naniwa, on the 3rd day of the 7th month.  They sailed through the Seto Inland Sea and stopped at Tsukushi, likely for one last resupply and to check in with the Dazai, located near modern Fukuoka, who would have been in charge of overseeing ships coming and going to the archipelago.  They departed from Ohotsu bay in Tsukushi on the 11th day of the 8th month. A quick note: Sspeedboats these were not.  Today, one can cross from Fukuoka to Busan, on the southeast corner of the Korean peninsula, in less than a day.  The envoys, however, were taking their time.  They may have even stopped at the islands of Iki and Tsushima on their way.  By the 13th day of the 9th month—over a month from leaving Kyushu behind -- , the  ships finally came to an island along the southern border of Yamato's ally, Baekje.  Hakatoko does not recall the name of the island, but o On the following morning, around 4 AM, so just before sunrise, the two ships put out to sea together to cross the ocean, heading south, towards the mouth of the Yangzi river.  Unfortunately, the following day, the ship Iwashiki was on met with a contrary wind, and was driven away from the other ship – with nothing known of its fate until some time afterwards.  Meanwhile, the other ship, under the command of Tsumori no Muraji no Kiza, continued on and by midnight on the 16th day, it arrived at Mt. Xuan near Kuaiji Commandary in the Yue district, in modern Zhejiang.  Suddenly a violent northeast wind blew up, and p.  Tthey were saileding another 7 days before they finally arrived at Yuyao.  Today, this is part of the city of Ningbo, at the mouth of the Qiantang river, south of Shanghai and considered a part of the Yangzi Delta Region.  This area has been inhabited since at least 6300 years ago, and it has long been a trade port, especially with the creation of the Grand Canal connecting between the Yangzi and the Yellow River, which would have allowed transshipment of goods to both regions. The now half-size Yamato contingenty  left their ship at Yuyao and disembarked, and made their way to Yuezhou, the capital of the Kuaiji Commandary.  This took them a bit of time—a little over a month.  Presumably this was because of paperwork and logistics: they probably because they had to send word ahead, and I suspect they had to inventory everything they brought and negotiate carts and transportationfigure out transportation., since   Tthey didn't exactly have bags of holding to stuff it all in, so they probably needed to negotiate carts and transportation.  The finally made it to Yuezhou on the first day of the 11th intercalary month.  An “intercalary” month refers to an extra month in a year.  It was determined by various calculations and was added to keep the lunar and solar years in relative synch. From Yuezhou, things went a bit more quickly, as they were placed on post-horses up to the Eastern Capital, or Luoyang, where the Emperor Tang Gaozong was in residence.   The Tang kept a capital at Luoyang and another to the west, in Chang'an.  The trip to Luoyang was long—over 1,000 kilometers, or 1 megameter, as it were.  The trip first took them through the Southern Capital, meaning the area of modern Nanjing, which they entered on the 15th day of the month.  They then continued onwards, reaching Luoyang on the 29th day of the 11th month.  The following day, on the 30th day of the 11th intercalary month of the year 659, the Yamato envoys were granted an audience with Emperor Tang Gaozong.  As was proper, he inquired about the health of their sovereign, Takara Hime, and the envoys reported that she was doing well.  He asked other questions about how the officials were doing and whether there was peace in Yamato.  The envoys all responded affirmatively, assuring him that Yamato was at peace. Tang Gaozong also asked about the Emishi they had brought with them.  We mentioned this event previously, back in Episode XXX117 , how the Emishi had been shown to the Tang Emperor, and how they had described them for him.  This is actually one of the earliest accounts that we have describing the Emishi from the Yamato point of view, rather than just naming them—presumably because everyone in Yamato already knew who they were.  From a diplomatic perspective, of course, this was no doubt Yamato demonstrating how they were, in many ways, an Empire, similar to the Tang, with their own subordinate ethnicities and “barbarians”. After answering all of the emperor's questions, the audience was concluded.  The following day, however, was something of its own. This was the first day of the regular 11th lunar month, and it also was the celebration of the Winter Solstice—so though it was the 11th month, it may have been about 22 December according to our modern western calendars.  The envoys once again met with the emperor, and they were treated as distinguished guests—at least according to their own records of it.  Unfortunately, during the festivities, it seems that a fire broke out, creating some confusion, and .  Tthe matters of the diplomatic mission were put on hold while all of that went on. We don't know exactly what happened in the ensuing month.  Presumably the envoys took in the sites of the city, may have visited various monasteries, and likely got to know the movers and shakers in the court, who likely would have wined and dined them, inviting them to various gatherings, as since they brought their own exotic culture and experiences to the Tang court. Unfortunately, things apparently turned sour.  First off, it seems clear that the members of this embassyy weren't the only Japanese in the court.  There may have been various merchants, of course, but and we definitely know that there were students who had come on other missions and were still there likely still studying, such as those who had been learning from studying with Master Xuanzang, whose journeys we mentioned in the last several episodes.  But Wwe are given a very specific name of a troublemaker, however:  Kawachi no Aya no Ohomaro, and we are told that he was aa servant of Han Chihung, who .  Han Chihung, himself, is thought to have possiblymay have been of mixed ethnicity—both Japanese and ethnic Han, and may .  Hhe may have traveled to the Tang court on or around 653. , based on some of the records, but it isn't entirely clear. For whatever reason, on the 3rd day of the 12th month of the year 659, Kawachi no Aya no Ohomaro slandered the envoys, and although .  Wwe don't know exactly what he said, but the Tang court caught wind of the accusations and found the envoys guilty.  They were condemned to banishment, until the author of our tale, none other than Iki no Hakatoko himself, stepped up, .  He made representation to the Emperor, pleading against the slander.  , and tThe punishment was remitted, .  Sso they were no longer banished.  However, they were also then told that they could no't return home.  You see, the Tang court was in the middle of some sensitive military operations in the lands east of the sea—in other words they were working with Silla to and invadeing the Kingdom of Baekje.  Since Yamato was an ally of Baekje, it would be inconvenient if the envoys were to return home and rally Yamato to Baekje's defense. And so the entire Yamato embassy was moved to the Western Capital, Chang'an, where they were placed under individual house arrest.  They no doubt were treated well, but they were not allowed to leave, and .  Tthey ended up spending the next year in this state. of house arrest. Unfortunately, we don't have a record of just how they passed their time in Chang'an.  They likely studied, and were probably visited by nobles and others.  They weren't allowed to leave, but they weren't exactly thrown in jail, either.  After all, they were foreign emissaries, and though the Tang might be at war with their ally, there was no formal declaration of war with Yamato, as far as I can make out.  And so the embassy just sat there, for about 9 months. Finally, in the 7th month of 660, the records tell us we are told thatthat tThe Tang and Silla forces had been successful: .  Baekje was destroyed..  The Tang and Silla forces had been successful.   News must have reached Chang'an a month later, as Iki Hakatoko writes that this occurred in the 8th month of the year 660.  With the Tang special military operation on the Korean peninsula concluded, they released the envoys and allowed them to return to their own countries.  They envoys began their preparations as of the 12th day of the 9th month, no doubt eager to return home, and left were leaving Chang'an a week later, on the 19th day of the 9th month.  From there, it took them almost a month to reach Luoyang, arriving on the 16th day of the 10th month, and here they were greeted with more good news, for here it was that they met up once again with those members of their delegation who had been blown off course. As you may remember, the ship carrying Iwashiki was blown off-course on the 15th day of the 9th month in the year 659, shortly after setting out from the Korean peninsula.  The two ships had lost contact and Tsumori no Muraji no Kiza and his ship had been the one that had continued on.   Iwashiki and those with him, however, found themselves at the mercy of the contrary winds and eventually came ashore at an island in the Southern Sea, which Aston translates as “Erh-kia-wei”.   There appears to be at least some suggestion that this was an island in the Ryukyuan chain, possibly the island of Kikai.  There, local islanders, none too happy about these foreigners crashing into their beach, destroyed the ship, and presumably attacked the embassy.  Several members, including Yamato no Aya no Wosa no Atahe no Arima (yeah, that *is* a mouthful), Sakahibe no Muraji no Inadzumi (perhaps a relative of Iwashiki) and others all stole a local ship and made their way off the island.  They eventually made landfall at a Kuazhou, southeast of Lishui City in modern Zhejiang province, where they met with local officials of the Tang government, who then sent them under escort to the capital at Luoyang.  Once there, they were probably held in a similar state of house arrest, due to the invasion of Baekje, but they met back up with Kiza and Hakatoko's party. The envoys, now reunited, hung out in Luoyang for a bit longer, and thus .  Thus it was on the first day of the 11th month of 660 that they witnessed war captives being brought to the capital.  This included 13 royal persons of Baekje, from the King on down to the Crown Prince and various nobles, including the PRimiePrime Minister, as well as 37 other persons of lower rank—50 people all told.  TheThese captives y were delivered up to the Tang government and led before the emperor.  Of course, with the war concluded, and Baekje no longer a functioning state, while he could have had them executed, Tang Gaozong instead released them, demonstrating a certain amount of magnanimity.  The Yamato envoys remained in Luoyang for most of the month.  On the 19th, they had another audience with the emperor, who bestowed on them various gifts and presents, and then five days later they departed the Luoyang, and began the trek back to the archipelago in earnest. By the 25th day of the first month of 661, the envoys arrived back at Yuezhou, head of the Kuaiji Commandery.  They stayed there for another couple of months, possibly waiting for the right time, as crossing the sea at in the wrong season could be disastrous.  They finally departed east from Yuezhou on the first day of the fourth month, coming to .  They came to Mt. Cheng-an 6 days later, on the 7th, and set out to sea first thing in the morning on the 8th.  They had a southwest wind initially in their favor, but they lost their way in the open ocean, an all too commonall-too-common problem without modern navigational aids.  Fortunately, the favorable winds had carried them far enough that only a day later they made landfall on the island of Tamna, aka Jeju island. Jeju island was, at this point, its own independent kingdom, situated off the southern coast of the Korean peninsula.  Dr. Alexander Vovin suggested that the name “Tamna” may have been a corruption of a Japonic or proto-Japonic name: Tanimura.  The island was apparently quite strange to the Yamato embassy, and they met with various residents natives of Jeju island.  They, even convincinged Prince Aphaki and eight other men of the island to come with them to be presented at the Yamato court. The rest of their journey took a little over a month.  They finally arrived back in Yamato on the 23rd day of the fifth month of 661.  They had been gone for approximately two years, and a lot had changed, especially with the destruction of Baekje.  The Yamato court had already learned of what had happened and was in the process of drawing up plans for an expedition back to the Korean peninsula to restore the Baekje kingdom, and pPrince Naka no Oe himself was set to lead the troops. The icing on the cake was: Tthe reception that the envoys received upon their return was rather cold.  Apparently they were had been slandered to the Yamato court by another follower of Han Chihung—Yamato no Aya no Atahe no Tarushima—and so they weren't met with any fanfare.  We still don't know what it was that Tarsuhima was saying—possibly he had gotten letters from Chihung or Ohomaro and was simply repeating what they had said. Either way, the envoys were sick of it.  They had traveled all the way to the Tang capitals, they had been placed under house arrest for a year, and now they had returned.  They not only had gifts from the Tang emperor, but they were also bringing the first ever embassy from the Kingdom of Tamna along with them.  The slander would not stand.  And so they did what anyone would do at the time:  They apparently appealed to the Kami.  We are told that their anger reached to the Gods of the High Heaven, which is to say the kami of Takamanohara, who killed Tarushima with a thunderbolt.  Which I guess was one way to shut him up. From what we can tell, the embassy was eventually considered a success.  Iki no Hakatoko's star would rise—and fall—and rise again in the court circles.  As I noted, his account of this embassy is really one of the best and most in depth that we have from this time.  It lets us see the relative route that the envoys were taking—the Chronicles in particular note that they traveled to the Great Tang of Wu, and, sure enough, they had set out along the southern route to the old Wu capital, rather than trying to cross the Bohai Sea and make landfall by the Shandong peninsula or at the mouth of the Yellow River.  From there they traveled through Nanjing—the southern “capital” likely referring, in this instance, to the old Wu capital—and then to Luoyang.  Though they stayed there much longer than they had anticipated, they ended up living there through some of the most impactful events that occurred during this point in Northeast Asia.  they And that is something we will touch on next episode.  Until then, thank you once again for listening and for all of your support. If you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website,  SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  Thank you, also, to Ellen for their work editing the podcast. And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan

Comment on this episode by going to KDramaChat.comToday, we'll be discussing Episode 3 of When Life Gives You Tangerines, the hit K Drama on Netflix starring IU as Ae Sun and Park Bo Gum as Gwan Sik. We discuss:The song featured during the recap: “Neoyeong Nayeong” by Ahn Eun Kyung and Eunyong Sim, a haunting blend of traditional and modern sound, sung in the Jeju dialect and about young love.How the show is beautifully infused with Jeju-specific language, culture, and music.Our heartfelt shoutouts to listeners, including Ellen's birthday and Joanna's meetup with Akiko in Tokyo.The folk tale of the honest woodcutter and its metaphorical significance for Ae Sun's comparison of Gwan Sik to a steel axe.The heartbreak of Ae Sun pushing Gwan Sik away—not out of lack of love, but to set him free.The injustice of Ae Sun's expulsion from school while Gwan Sik only gets suspended, a commentary on gender and social status.Gwan Sik melting down his doljanchi rings to make a ring for Ae Sun—rings full of cultural symbolism and maternal sentiment.The chilling portrayal of Ae Sun's potential suitor, a widower looking more for unpaid labor than a partner.Gwan Sik's dramatic decision to swim back to Ae Sun after hearing her cries at the harbor—an epic open water swim of love and determination.Our leads' emotional reunion, wedding, and the symbolism of Ae Sun's wide-brimmed hat and new ring.The support of the haenyeos and their reference to the Cowherd and Weaver Girl folktale, a beautiful metaphor for star-crossed love.The reveal that Ae Sun was pregnant from their night in Busan, explaining the early birth of their daughter and the "conception dream" of Gwan sik's grandmother.The bittersweet final scene, where Ae Sun and Gwan Sik acknowledge that while they gave up dreams of poetry and athletic stardom, they have no regrets about choosing each other.Our deep dive into IU's stellar career as a singer, actress, and philanthropist—highlighting why she's beloved by so many around the world.Next week, we'll recap and analyze Episode 4 of When Life Gives You Tangerines and talk about the handsome and talented Park Bo Gum!ReferencesKnown as the “Poet of Flag,” Yu Chi-hwanFolk songs of JejuThe Honest WoodcutterThe Weaver and the Cow Herdsman: A tale of two lovers whose deep affection triumphed over loneliness

In this conversation, Beany, podcast producer and SWA instructor, shares her experience as an environmental advocate supported by Surf with Amigas. She recently attended the United Nations Plastic Pollution Treaty Negotiations in Busan, South Korea, where delegates from 175 countries sought to find a solution to reducing global plastic pollution. We discuss her experience there and some major takeaways from the event, including the challenges of navigating environmental issues, the bureaucracy of large-scale legislative change, and greenwashing. Finally, we emphasize the need for hope, collaboration, and clear communication when moving forward with these issues. We challenge listeners to think about how they can create effective change and reduce plastic pollution in their personal lives.Connect with us at https://surfwithamigas.com/ or @surfwithamigas.Episodes produced and edited by Emma Roggenkamp.

On this episode of The Project Endure Podcast, Joe Rinaldi sits down with Matt Choi to talk about passionate storytelling, building soft skills through sport, the truth that it takes hard work to make it look easy, using social media to download new software, the New York City Marathon mishap, getting banned from the world's biggest marathon, making mistakes and being human, learning to process criticisms, you only lose if you quit, running 300 miles over 10 days in South Korea (ending in Busan), writing our stories one decision at a time, other people making us feel at home, building our faith, realizing that we're all just asses carrying Jesus, learning to see our struggle as a gift and so much more. Give this episode a listen as we dive deep into Matt's life and learn about what persistence, perspective and endurance mean to him.   If you found value in this episode and would like to help us grow, please leave the podcast a review on your platform of choice and share it with a friend(s). We appreciate your support!   Follow Matt (here)   Follow Project Endure (here) Project Endure Coaching (here) Join The Hard Things Club (here) Shop Project Endure (here)   Follow Joe (here) Read Joe's Blog (here)

Comment on this episode by going to KDramaChat.comToday, we'll be discussing Episode 2 of When Life Gives You Tangerines, the hit K Drama on Netflix starring IU (Lee Ji-eun) as Ae Sun and Park Bo-gum as Gwan-sik. We discuss:The song featured during the recap: Ode to the Green Spring by Chu Da Hye, a hauntingly beautiful piece that blends traditional Korean folk styles with modern sensibility.The background of Chu Da Hye and her mastery of Seodo Sori, a North Korean regional singing style known for its mournful and emotive qualities.The incredibly moving moment when Gwan-sik silently puts Ae Sun's shoes on her feet, a gesture of deep love, reminiscent of Cinderella and symbolic devotion.Ae Sun's bravado and vulnerability during their walk through Jeju, leading to their emotional first kiss amidst the canola fields.Gwan-sik's poetic confession and Ae Sun's long-awaited admission that she's been ready for love since she was 14.The complex family dynamics that drive Ae Sun to run away: her stepfather's betrayal, her uncle's cold dismissal, and Gwan-sik's grandmother's harsh judgment.Ae Sun's strength in rejecting the guilt trip from her uncle, refusing to work in a factory or support a family that never cared for her.The historical context of 1968 South Korea, including the May 16 coup and the Blue House Raid involving North Korean commando Kim Shin-jo.The suspenseful scene on the boat to Busan when Ae Sun bluffs her way past a suspicious captain, boldly claiming she and Gwan-sik are married.Their failed attempt to pawn stolen jewelry and the significance of the gold frog as a family heirloom and symbol of wealth.The betrayal by the innkeepers who drug and rob them, leaving them penniless and desperate.Ae Sun and Gwan-sik's decision to sneak back into the inn and recover their belongings, only for their plan to go awry when Ae Sun insists on retrieving her precious flower hairpin.The thrilling ending: Ae Sun is tackled, Gwan-sik prepares a flying kick, and the episode ends on a cliffhanger.A flash forward to 1993 hints at Ae Sun's future as a mother, but the father's identity is deliberately obscured—leaving us wondering if it's Gwan-sik.The fantastic cinematography, especially the wide shots in the canola fields and the immersive market scene.Insights into the mystery of the writer Lim Sang-choon and a deep dive into the many women behind K Drama screenwriting.ReferencesSsing Ssing's Tiny Desk Concert on NPRJindo Arirang[Daily JOKOer] We Can Speak Korean with Just Numbers? Simple Korean Beeper Codes Top 5┃언어문화NGO 조인어스코리아Korean drama - WikipediaHong sisters - WikipediaKim Eun-sook - WikipediaPark Ji-eun - WikipediaKim Soon-ok (screenwriter) - WikipediaHwang Dong-hyuk - WikipediaHow to Tell if a Korean Name is Male or Female | TOPIK GUIDEWhat makes a Korean name masculine or feminine?When Life Gives You Tangerines Offer Comfort To Those Who Need ItNostalgia by Jung Ji YongDol hareubang - Wikipedia

Reviews: Blade Forger #1, The Herculoids #1, Daredevil: Born Again, Plankton: The Movie ​Back with more reviews! Thanks to Marta and Melissa for contributing. And our news anchor Emily returns too! (Sorry for the technical issue, E!). News includes: Kevin Smith goes to Riverdale, a Jack Kirby documentary is coming, Train to Busan director Yeon Sang-ho has a new zombie movie on the way and more! Some great recommendations in the Top 3!  Also, get a hold of us! Thanks for listening!

Last time we spoke about Gokokujo and Collaborators. In September 1931, the Japanese Imperial General Headquarters aimed to contain the Mukden Incident but faced resistance from the Kwantung Command. Led by General Honjo, Japanese forces quickly overwhelmed Chinese troops, seizing key cities in Manchuria. Despite Tokyo's disapproval, military leaders acted independently, invoking the Emperor's authority. Amidst the chaos, local Chinese leaders cooperated with the invaders, leading to a swift Japanese victory. As the military expanded its power, the civilian government struggled to regain control, illustrating the complexities of Japan's political landscape. In 1931, the Kwantung Army's officers, led by Ishiwara and Itegaki, aimed for a military occupation of Manchuria, initially allowing local officials autonomy. However, Tokyo's rejection of annexation forced them to claim Manchurian independence. Amidst confusion and infighting, Komai Tokuzo emerged as a key figure, manipulating local elites to establish control. The Japanese employed violence and persuasion, swiftly occupying cities while puppet leaders maintained a facade of governance. As resistance brewed, Zhang Xueliang and others sought to reclaim their homeland from Japanese dominance.   #140 The Jiangqiao Campaign: The Resistance of Ma Zhanshan Welcome to the Fall and Rise of China Podcast, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about the history of Asia? Kings and Generals have an assortment of episodes on history of asia and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel where I cover the history of China and Japan from the 19th century until the end of the Pacific War. For quite some time we have spoken about countless variables involved with the conquest of Manchuria. More or less we broke down three sorts of players in this invasion: those Chinese who chose to collaborate with the Japanese, those who tried to act neutral and sit upon the fence and then there were those who resisted. The resistance against the Japanese was not unified, often it was pockets of groups trying to hold out as long as possible. The resistance took on various forms for various reasons. One of the resistance stories I always found more interesting than the rest was the story of Ma Zhanshan. Ma Zhanshan was born in 1885 in Gongzhuling of Jilin province to a poor shepherding family. Ma was of Manchu heritage as stated by his grandson Ma Zhiwei who became a member of the Chinese Peoples' political consultative conference. At a very young age, Ma joined a bandit group in Heihushan. This bandit group gradually was incorporated into some troops of Huaide county yamen. During the Russo-Japanese War, Ma was one of the many local soldiers who served under the Japanese. At the age of 20, as a result of his exceptional marksmanship and equestrianism, Ma was promoted to Guard Monitor of the 4th security Guard Battalion under Wu Junsheng. Wu Junsheng commanded the Tianhou Road Patrol and defense battalion for Mukden in 1908. In 1913 Ma was appointed as Major and Company commander over the 3rd company, 3rd regiment, 2nd Brigade of the Central Cavalry Army of Republic China. By 1920 he was promoted to Colonel and followed his superior Wu Junsheng who became a warlord. He gradually found himself serving Zhang Zuolin's Northeastern Army, serving as a brigade commander of the 5th cavalry brigade, 17th cavalry division. By 1927 he was transferred to Heilongjiang where he became a garrison commander at Heihe, along the Soviet border. After Zhang Zuolins death in 1928 Ma was nominated as Heilongjiang's Provincial Bandit Suppression Commander and the provincial cavalry commander in chief. During the Mukden Incident of September 18th, 1931, General Xie Ke, the deputy commander in chief of Qiqihar took a series of strategic measures to block the Japanese and their Chinese collaborationist troops from invading their territory. Xie Ke dispatched two battalions of infantry and an artillery regiment to defend Qiqihar under Park Bingshan; a regiment led by Zhu Fengyang from Xiaohaozi station to Tailai to guard in the direction of Taonan; the first cavalry brigade of Wu Shongli from Baiquan to Qiqihar; a guard regiment under Xu Baozhen, with a battalion of artillery, a company of engineers and a company of baggage, roughly 2000 people to take up a position north of Jiangqiao where they began building fortifications, laid minefields south of the critical Nenjiang bridge there and mounted 100 Czech made light machine guns to the front lines.  Now when the Mukden Incident broke out, the Governor of Heilongjiang province, Wan Fulin was in Beiping leaving no one of real authority in the province to take charge of its defenses against the Japanese. Meanwhile Liaoning and Jilin were basically trampled upon without much incident. From Beiping Zhang Xueliang telegraphed the Nanjing government to ask for instructions as what he should do, but in the meantime he appointed Ma Zhanshan as acting Governor and Military commander in chief of Heilongjiang Province on October 10th, 1931. Now a full General, Ma Zhanshan arrived at the capital Qiqihar on the 19th and began personally inspecting the troops and defensive positions. By this point Chiang Kai-Shek had made it known the stance of Nanjing was one of passiveness, to wait for negotiations to unfold to settle the matter. Zhang Xueliang loyally followed said commands, but multiple parties within Manchuria sought to either surrender, openly collaborate or resist the Japanese. Under the circumstances, Ma Zhanshan told his troops “I am appointed as Chairman of the Province, and I have the responsibility to defend the Province and I will never be a surrendering general". Thus Ma Zhanshan chose to disobey the Kuomintang's orders not to resist the Japanese. Meanwhile also during the month of October, General Zhang Haipeng of the 2nd Provincial Defense Brigade at Taonan had just been approached by the Japanese seeking collaboration. Zhang Haipeng had been a Honghuzi irregular cavalry commander during the first sino-japanese war. He later became a mercenary during the Russo-Japanese War and went on to study at the Northeast Military academy. After the Xinhai revolution he was assigned command of an infantry regiment, but was one of the morons who supported Zhang Xun's attempt to restore the Qing Dynasty in 1917. After that debacle he went to work for Zhang Zuolin and in 1923 was appointed a commissioner of the Chinese Eastern Railway. When the Japanese asked him to collaborate, Zhang Haipeng immediately seized command of the local forces including the Xing'an Reclamation Army to declare the district independent from China. He did this in return for a shipment of military supplies from the IJA. Upon taking charge on October 23, Zhang Haipeng dispatched 3 regiments from Baichengzi to attack Jiangqiao led by General Xu Jinglong. Xu Jinglong's advance guard with an engineering company was attacked by forces led by General Dou Lianfang defending the north bank around the Nenjiang Bridge. During the battle, Ma Zhanshan had his forces use dynamite to damage the Nenjiang railroad bridge. The Japanese began to repeatedly demand Ma Zhanshan allow them to repair the bridge, but he continuously refused and had his forces defend the area near Daxing preventing Zhang Haipengs men from proceeding north. By October the 15th, the Japanese provided some fighter-bomber support, but Zhang Haipengs forces suffered heavy casualties and were counterattacked until they retreated. At this time Ma Zhanshan was traveling from Heihe to Qiqihar. By the 20th Ma officially took office as the acting chairman of Heilongjiang and went to the front lines to encourage the men. He issued a reward for the head of Zhang Haipeng and announced the establishment of the Heilongjiang Army Provincial HQ. Xi Ke became his chief of staff and deputy commander. On October 22nd, Ma Zhanshan issued a declaration in response to the Japanese massing forces along the border of Heilongjiang. "In this difficult time for the country, two of the three provinces have been lost. Those who have a little conscience will all sleep on straw and taste gall, and swear to survive. Although our Heilongjiang is still a clean piece of land... From now on, anyone who invades our province will fight to the death." Ma Zhanshan then went to work, grabbing reports from his generals such as Xie Ke about the state of their defenses. He immediately began adjusting the deployment of forces: He appointed Pu Bingshan as the commander of the provincial capital garrison to enhance the defense of the area. Wang Nanping was designated as the commander of the Heihe garrison, taking over from Ma Zhanshan. Additionally, he organized three infantry regiments, one cavalry regiment, and one artillery battalion from the Northeast Reclamation Army into the 1st Infantry Brigade, positioning them south of Daxing. The cavalry unit was deployed to the west of Fulaerji to secure the Jingxing direction. By October 29, 1931, the establishment of three defensive positions, extending approximately 40 kilometers in depth and 10 kilometers in width from Jiangqiao to Yushutun and Ang'angxi, was largely completed, with the railway serving as the central axis. Liu Wankui, the former head of the Ning'an Public Security Bureau, led over 1,000 troops to be reorganized west of Ning'an on the 15th, forming the 5th Independent Regiment of the Self-Defense Army. Following the defeat of Zhang Haipeng's rebels, the Kwantung Army was prepared to deploy troops directly. They viewed the destruction of the Nenjiang Bridge by the Chinese army as a prime justification for action. Consequently, they decided to establish the Nenjiang Detachment, consisting of one infantry battalion, one artillery battalion, and an engineering squadron from the 16th Regiment of the 2nd Division, supported by the 8th Independent Flying Squadron. Their plan was to use military force to secure the bridge repair, incite trouble, and launch an attack. However, the Japanese Army Ministry and General Staff Headquarters were still wary of the Soviet Union at that time and did not endorse the Kwantung Army's offensive. Kanaya Nobumitsu sent a telegram to the Kwantung Army stating, "You may proceed to repair the river bridge. However, you are not permitted to deploy troops to North Manchuria, far from the Nenjiang River, without my approval, regardless of the circumstances." However, when Hirota Koki, the Japanese ambassador to the Soviet Union, learned from Soviet Deputy Foreign Minister Kajiekan on October 29 that the Soviet Union would not support either side in the conflict and would maintain a "strict non-interference policy," the stance of the Japanese Army Ministry shifted, leading them to back the Kwantung Army. On November 2, 1931, Honjo Shigeru instructed Hayashi Yoshihide, the head of the Qiqihar Japanese secret service, to deliver an ultimatum to Ma Zhanshan. The ultimatum demanded that Ma Zhanshan's troops withdraw to a location at least 10 kilometers from the Nenjiang Iron Bridge by noon on the 3rd, and refrain from entering the area until the Japanese army had completed repairs on the bridge. If these conditions were not met, the Japanese army would resort to force.  On November 4th Ma Zhanshan sent subordinates to accompany Major Hayashi Yoshihide “so that the Japanese might begin work, and so that I could order my army to start to retreat”. Ma Zhanshan gave assurances the Japanese repairing operation would not be interfered with, meanwhile teelgraming his subordinates “paint all Manchuria red with the blood of Japanese troops”. A force of 800 Japanese led by Major General Shogo Hasebe with repair crews came to the area to find Daxing a warzone. Shogo found Ma Zhanshans subordinate on the ground, Xu Baozhen and demanded the fighting cease so they could repair the bridge. Xu Baozhen said he never received any orders to cease fighting. The Japanese claim the nearby 2500 Chinese forces of Ma Zhanshan began opening fire upon them using rifles and machine guns. The Japanese retaliated likewise and Japanese aircraft began strafing the Chinese forcing them to retreat towards Qiqihar. The Chinese suffered 120 casualties, the Japanese 15. That day the Japanese Nenjiang Detachment's advance squadron moved northward from Jiangqiao Station, supported by aircraft. After crossing the Nenjiang Bridge, they launched an assault on the Chinese army positions south of Daxing Station. At that time, Xu Baozhen's and Zhang Jingdu's troops from Ma Zhanshan's Guard Regiment, totaling 2,700 soldiers, rose to confront the enemy and successfully repelled them. In the afternoon, the Japanese forces, now numbering around 4,000 and led by Colonel Hamamoto, attacked Jiangqiao with the support of aircraft, tanks, and heavy artillery. They initially penetrated the left flank of Jiangqiao before launching a fierce assault on the main Daxing Line position in front of the town. Despite the Chinese defenders' resistance, the Japanese managed to breach their positions, leading to intense hand-to-hand combat. Despite this the Japanese forces were forced to retreat to the riverbank, where they were ambushed by Chinese troops concealed in the reeds. As reinforcements for the Japanese arrived, they were quickly flanked by the defending cavalry, forcing them to retreat once more. By 20:00, the Japanese forces had completely pulled out, leaving behind over 400 casualties. That night, following a sustained artillery bombardment, the Japanese attempted a surprise boat attack. As their boats neared the northern bank, the Chinese troops hidden in the reeds opened fire, resulting in many Japanese soldiers falling into the water, either killed or wounded, while the remainder retreated. On that day, the Chinese army suffered over 300 casualties, while the Japanese and their puppet forces incurred more than 1,000 losses. Despite concentrating their forces and launching continuous attacks with air and artillery support, the Japanese were ultimately repelled by the defenders. Lieutenant Shinichiro Ojin, a Japanese pilot flying low and dropping bombs, was also injured during the conflict. The Japanese sent word to Ma Zhanshan, demanding he make true on his promise, but Ma Zhanshan responded that of his 15,000 troops he could only nominally control a third. Ma Zhanshan then sent a telegram to the League of Nations reading this “I am helpless. I have exhausted all attempts to preserve peace. I have strictly instructed my commanders to act only on the defensive, and that they must not attack. But Major Hayashi has seen this behavior by the Japanese military, and not only has not stopped it but, on the contrary, wants our army to withdraw from Heilongjiang province, so that they can carve up the whole lot... Since the 4th, the Japanese army has started to attack our army . . . They are coordinating land and air attacks, carrying out utterly horrible bombings!”  On the morning of the 5th, the Japanese army focused all its efforts on launching another assault. At 6 am., the Japanese forces bombarded the defenders' positions with numerous cannons. By 7 am, over 8,000 Japanese and puppet troops crossed the river via the central route, while additional puppet forces advanced from the left and right, shielded by artillery and aircraft. As the boats reached the midpoint of the river, the Chinese army mounted a vigorous counterattack. Despite suffering significant casualties, the Japanese and puppet troops persisted in their attempt to cross. By 10 am, the Japanese army had taken the frontline positions on the riverbank, forcing the defenders to retreat to the flanks. The Japanese then launched an assault on the second line of defense at Daxing, where they faced staunch resistance from the defenders. At noon, Ma Zhanshan arrived at the front lines to direct Wu Delin's and Xu Baozhen's regiments in a counteroffensive, urgently sending the Sabli Regiment of the 1st Cavalry Brigade to encircle the Japanese forces from both sides. The brutal fighting continued from 3pm until dusk. The Japanese acknowledged, "The Chinese army executed an encirclement counterattack using infantry and cavalry. The Japanese army suffered heavy losses and was compelled to retreat" . The Japanese forces were forced to shift from an offensive to a defensive stance, with many of their support units annihilated by our cavalry. In this engagement, the Chinese army incurred over 200 casualties, while the Japanese army lost 167 soldiers and sustained more than 600 injuries. That night, a battalion from the 29th Regiment of the Japanese Army arrived as reinforcements. Upon their arrival, they immediately launched an attack but were quickly surrounded by Ma Zhanshan's forces. In response, Honjo Shigeru urgently dispatched an infantry battalion and three artillery squadrons from the 16th Regiment to assist. On the morning of the 6th, Japanese reinforcements arrived and launched a vigorous assault, supported by aircraft that conducted strafing and bombing runs in an attempt to rescue the encircled Japanese forces. On that day, Ma Zhanshan personally visited the front lines to oversee the battle. Both sides incurred significant casualties. Despite the fierce resistance from Ma Zhanshan's troops, the Japanese offensive struggled to gain ground. In response, Honjo Shigeru ordered Tamon Jiro of the 2nd Division to lead the 29th Regiment, the 2nd Cavalry Regiment, the 2nd Field Artillery Regiment, the Temporary Field Heavy Artillery Battalion, the Engineer Squadron, and a battalion from the 39th Mixed Brigade in the Shenyang area to rush to the vicinity of Kaijiang Bridge. Their objective was to reinforce their forces, attack the defenders, and capture the key position at Daxing. The Chinese army fought desperately, with the sounds of hand-to-hand combat echoing loudly as they repeatedly recaptured lost positions. That day, the Chinese forces suffered over 1,850 casualties, while inflicting more than 2,000 deaths on Japanese and puppet troops and shooting down one aircraft. The Japanese Hamamoto Detachment was nearly annihilated, and the Gaobo Cavalry Team sustained almost total losses. After three days and two nights of continuous fighting without reinforcements, the soldiers were extremely fatigued, and the Daxing position had been heavily damaged. General Ma Zhanshan then ordered the main forces to withdraw to the secondary position at Sanjianfang, located 18 kilometers from Daxing Station, to reorganize defenses alongside the 1st Cavalry Brigade and the 1st Infantry Brigade. On the morning of the 7th, a significant force of Japanese and puppet troops, supported by ten aircraft, launched an attack on the Nantangchi area of Sanjianfang. In response, a combined regiment from Zhang Dianjiu's Brigade and Su Bingwen's Brigade quickly mobilized to counterattack, successfully repelling the enemy by the afternoon. The Chinese forces incurred over 300 casualties, while the Japanese suffered more than 600 casualties, along with over 1,000 from the puppet troops. Notably, and take this one with a heavy grain of I am using a PRC source grain of salt quote “despite ongoing enemy air assaults and the lack of anti-aircraft artillery, the courageous soldiers displayed remarkable ingenuity by lying on the ground in groups of 20 and firing their rifles upward, ultimately managing to shoot down an enemy aircraft”. Upon inspection, the wreckage revealed 26 bullet holes in both wings, marking the first enemy plane downed in China's war against Japan. As a result, Japanese aircraft became hesitant to fly at low altitudes in subsequent battles. Observing the heavy losses inflicted on his forces, Honjo Shigeru ordered Duomen Jiro to halt their advance and return to their original positions. To conceal the reality of their defeat, the Japanese army circulated rumors claiming that the Soviet Union supplied ammunition to the defenders in Heilongjiang. They also propagated various falsehoods to downplay the number of Japanese casualties, worried that anti-war sentiments in Japan would gain momentum. In response, Ma Zhanshan sent a telegram to counter the Japanese army's claims. The Japanese army experienced significant losses during the initial phase of the battle. To resolve the stalemate quickly, they deployed additional troops and made every effort to prepare for a renewed attack. Simultaneously, they issued an ultimatum to Ma Zhanshan, pressuring him to resign, relinquish power, and withdraw Chinese forces from Qiqihar, but Ma Zhanshan firmly refused. The Kwantung Army recommended that the Japanese Army Central Department expedite the deployment of an extra division. In response, Honjo Shigeru ordered the "2nd Division to gather in Daxing with full force." By the 11th, the Japanese army had assembled the Hase Brigade Headquarters, the 16th Infantry Regiment, the 4th Regiment , the 1st Battalion of the 29th Regiment, the 2nd Cavalry Regiment, and the 2nd Squadron of the 28th Regiment, along with the 2nd Field Artillery Regiment and the 2nd Engineer Squadron on the north bank of the Nenjiang River. On the south bank, they had the 3rd Battalion of the 26th Field Artillery Regiment and a Temporary Field Heavy Artillery Battalion, totaling over 30,000 troops. In response to the Japanese army's troop deployment, Ma Zhanshan convened a military meeting on the evening of the 7th to discuss strategies for countering the enemy and to reorganize troop placements, establishing three lines of defense. The first line of defense was located in Tangchi, Wunotou, and Xinlitun, with front-line positions at Houyiriba, Qianguandi, and Houguandi, defended by two regiments from Wu Songlin's 1st Cavalry Brigade. After the 14th, Lu Zhiyuan's 2nd Cavalry Brigade was fully deployed to engage in combat in Tangchi and surrounding areas. The second line of defense was situated in Yinglaofen, Sanjianfang, Daxingtun, Xiaoxingtun, and Huotuoqi, serving as the primary position for the black army's frontal defense. This line was manned by four regiments from Yuan Chonggu's 1st Brigade, Wu Delin's 2nd Infantry Brigade, Li Qingshan's 3rd Infantry Brigade, Wang Kezhen's 1st Cavalry Brigade, as well as Park Bingshan's artillery regiment and various engineering and support units. Following the 14th, Sun Hongyu's 1st Infantry Brigade and 2,000 personnel from the Suihua Security Battalion joined the frontal defense efforts. The third line of defense was established in Zhujiakan, Fulaerji, Ang'angxi, and Yushutun, defended by two regiments from Zhang Dianjiu's 1st Infantry Brigade, the entire 2nd Cavalry Brigade, and the Guard Regiment, totaling over 13,000 troops. Sanjianfang is a station located on the railway line from Taonan to Ang'angxi, situated 70 li north of Qiqihar and 60 li south of Nenjiang Bridge. It served as a crucial defensive site for the Chinese army in protecting the capital of Heilongjiang Province. For the Japanese army to take control of Heilongjiang Province, capturing Sanjianfang was essential for a direct route to Qiqihar. Consequently, the struggle for Sanjianfang became a central point in the second phase of the Battle of Jiangqiao. On the morning of the 12th, a vanguard of 500 Japanese infantry and cavalry launched an assault on Ma Zhanshan's frontier positions at Qianguandi, Houguandi, and Zhanghuayuan. The defending forces under Wu Songlin mounted a counterattack. By 1:00 pm, the Japanese army had taken control of the positions, forcing over 600 defenders to retreat to the front lines. At 5:00 am on the 13th more than 500 Japanese soldiers, supported by two aircraft, attacked Xinlitun, but they faced a strong counteroffensive from the defenders. By 10:00 am, the defenders had successfully repelled the attack. At noon that day, the damaged Nenjiang Bridge was repaired, creating advantageous conditions for a large-scale Japanese offensive. At this time, Kwantung Army commander Honjo Shigeru issued a third reinforcement order: "Deploy the remaining troops of the 2nd Division, along with three infantry battalions from the 39th Mixed Brigade and the rescue squad, to the vicinity of Daxing." He also instructed Lieutenant General Duomen, the commander of the 2nd Division, to lead the Nenjiang Detachment. In response, the Japanese headquarters hastily dispatched three air squadrons to Heilongjiang Province and redirected the 4th Mixed Brigade, initially set to land in Dalian, to Busan, Korea, for a swift deployment to Heilongjiang. In the afternoon, over 3,000 Japanese infantry and cavalry, supported by artillery, launched a vigorous attack on Tangchi, Unotou, and Xinlitun. The defenders fought back fiercely until midnight, when the Japanese finally occupied Unotou. On the morning of the 14th, the Japanese army launched an attack on the Tangchi position, supported by two aircraft and heavy artillery, but they were repelled by the forces of Ma Zhanshan. Around 10 a.m., over 2,000 Japanese troops, led by Hase, split into two units—infantry and cavalry—and employed a strategy of large encirclement to assault Tangchi from both the left and right flanks. The cavalry engaged in combat but eventually retreated. The intense fighting continued until the morning of the 15th, when the Japanese army targeted Shuanma. By this time, Ma Zhanshan had already dispatched two cavalry regiments to quietly encircle the enemy's flanks. At his command, the front guard regiment charged into the Japanese positions first, while the cavalry regiments surged from both sides, forcing the Japanese to retreat hastily. Ma Zhanshan's forces captured two artillery pieces and 70 horses, killed 300 Japanese soldiers, and took 200 prisoners, while the puppet army suffered over 2,000 casualties and fled with their weapons. To bolster their defensive capabilities, the defenders organized the 2,000 members of the Suihua Security Battalion into an independent regiment and integrated them into the frontline. On the 15th, following orders from Japanese Army Minister Minami Jiro, Honjo Shigeru presented three demands to Ma Zhanshan: that Ma's troops withdraw from south of the Chinese Eastern Railway, that the area be administered by the Taomao Bureau, and that Ma refrain from interference. However, Ma Zhanshan rejected these demands. At 7:30 a.m. on the 15th, Lieutenant General Tamon, the commander of the Japanese 2nd Division, led the main contingent of his division to the Daxing front. By 11:00 am on the 16th, with the backing of 10 aircraft, heavy artillery, and tanks, 4,000 Japanese infantry and cavalry launched a vigorous assault on positions including Xinlitun and Sanjiazi. The defenders fought valiantly and managed to repel the Japanese forces by 3:00 pm, resulting in heavy casualties on both sides. At 10:10 a.m. on the 17th, Honjo Shigeru received orders from the Chief of Army General Staff to "advance north of Qiqihar and attempt to destabilize the enemy with bold maneuvers, and have the 2nd Division  capture Qiqihar in one decisive strike." He also instructed the 39th Mixed Brigade to "mobilize all remaining troops in Daxing, except for one infantry company and an engineering company, placing them under the command of the 2nd Division leader." At 1:00 p.m., Division Commander Duomen ordered the Japanese troops stationed at the Houyiriba train to launch a full-scale assault on the Black Army, particularly targeting Sanjianfang. By 10:00 pm on the 17th the Japanese forces, having received supplies and reinforcements, split into three groups and mounted a fierce attack on the Mabu position. Under Amano's command, the right-wing troops advanced from Wunotou to assault the left-wing positions in the Xinlitun area. Despite the Wu Songlin Brigade being exhausted from several days of fighting, they fiercely resisted the numerically superior enemy, repelling more than ten Japanese attacks. However, by early morning, most of the defenders' trenches had been destroyed, and their positions were compromised in numerous locations, forcing a retreat to the second line in the Daxingtun area. At 10:40 pm on the 17th, the left-wing Japanese forces, commanded by Hase, attacked the right-wing positions in the Tangchi area, where the Cheng Zhiyuan Brigade fought tenaciously. By 2:00 am the following day, the Japanese intensified their assault, deploying 8 tanks and over 30 artillery pieces. Unable to sustain their defense, the defenders retreated to the main position at Sanjianfang. At 3 am on the 18th, the Japanese army mobilized various units and moved to the designated staging area as planned. By 6:30, aircraft and artillery began a one-hour bombardment of the front-line positions at Sanjianfang, to which the defenders responded with their own artillery fire. The booming of the cannons echoed across the entire Shuobei wilderness. At that time, Japanese heavy artillery had a range of 30 kilometers, while the Ma army's heavy artillery could only reach 15 kilometers, resulting in significant losses. Around 8 o'clock, the Japanese forces launched a full-scale attack, supported by tanks. Despite the fierce fighting from the defenders, the Japanese advance was initially repelled. At 9:20, Duomen ordered reinforcements from the reserves and initiated another aggressive assault. By 10 o'clock, although the defenders on the right flank fought valiantly, they were unable to hold their ground and retreated to Mao Mao Creek. At 10:30, the left flank position at Xiaoxingtun fell, forcing the troops to fight their way back to Hongqiyingzi and Yushutun. At this point, Hase directed the infantry and cavalry to assault the main position at Sanjianfang with support from aircraft and tanks. The defending troops, including the Yuan Chonggu Brigade and Zhang Dianjiu Brigade, put up a fierce resistance. By 14:00, the Japanese 39th Mixed Brigade, followed by a regiment from Sanjiazi to the west of Sanjianfang, joined the fight. Together with the Hase Brigade launching a direct assault, they executed a coordinated pincer movement. After 15:00, the Japanese forces added 12 aircraft, 12 tanks, and over 30 artillery pieces, bombarding the trenches with intense fire. Due to insufficient reinforcements, the Japanese army captured Qiqihar on the 19th. Ma Zhanshan's army was on the brink of starvation after Japanese planes bombed their food storage facilities. The Chinese defenders, battling fiercely despite their empty stomachs, were undeterred by their enemy's overwhelming numbers. They engaged in hand-to-hand combat, fighting to the death, their battle cries echoing through the ground. Fighting in the Sanjianfang area continued throughout the night. Although the Chinese troops shared a common hatred and displayed "extraordinary bravery," many had gone several days without sleep due to relentless fighting, and their food supplies had been cut off, leaving them without reinforcements. The ammunition available at that time was part of a long-term stockpile from the Heilongjiang defenders, with much of it rendered unusable due to mold. Meanwhile, the invading forces were continuously bolstered by fresh supplies and reinforcements, creating a dire imbalance between the strong enemy and the weakened defenders. Furthermore, the position had been heavily damaged and was "truly unable to sustain" the fight. On the afternoon of the 18th, Ma Zhanshan was forced to make the difficult decision to order a withdrawal. By the 19th, over 5,000 Japanese troops had taken control of Qiqihar, marking the end of the Battle of Jiangqiao. The civilian population had pushed Ma Zhanshan to pull out, a long held Chinese tradition that did not mean losing face, but rather living to fight another day. On November the 18th, Ma Zhanshans forces evacuated Qiqihar and by the 19th he led them east to defend Baiquan and Hailun. His army suffered tremendous casualties, possibly up to 3000, with the Japanese claiming 300 casualties for themselves. Ma Zhanshans forces then retired to the Nonni river valley and eventually over the Soviet Border. The Japanese began an occupation of Qiqihar, thus securing the control of all three Manchurian provincial capitals. They quickly established a collaborist government under General Zhang Jinghui and secured control over the central section of the Chinese eastern railway. However the eastern section of the railway was still under the control of General Ting Chao operating in Harbin. Ting Chao would follow Ma Zhanshans example, inspiring local Chinese to aid and enlist in the resistance efforts.  Ma Zhanshan drew international attention through a series of telegrams he sent describing his campaign of resistance against the Japanese in Heilongjiang. His stand along the Nonni river near Qiqihar lionized him amongst the Chinese nationalists who sought to use his public image to shame Chiang Kai-shek into action against the Japanese.  During the Battle of Jiangqiao, Ma Zhanshan fought independently without any assistance from the Northeast Army based in Jinzhou. Although Zhang Xueliang instructed Ma to hold his position, the troops in Jinzhou were "not ready for combat." Following the battle, Zhang Xueliang faced significant public backlash. The Shanghai National Salvation Federation stated that "Ma's forces in Heilongjiang Province fought valiantly against the Japanese and demonstrated loyalty on the battlefield, while Zhang Xueliang failed to provide support." The Citizens' Federation sent a telegram to the National Government, accusing Zhang of "neglecting his responsibilities while allowing the Japanese invaders to attack the Northeast, leading to national humiliation and territorial loss." Additionally, the National Student Anti-Japanese National Salvation Federation sent a telegram urging the government to "severely punish Zhang Xueliang and deploy troops immediately." Chiang Kai-shek sent multiple telegrams to praise Ma Zhanshan for his brave resistance and instructed Zhang Xueliang to quickly provide reinforcements. For instance, on November 12th,, Chiang Kai-shek sent a message to Ma Zhanshan stating: "Japan has once again invaded Heilongjiang Province under the pretext of repairing the Jiangqiao Bridge. Our defensive actions were justified. Fortunately, due to your careful leadership and the bravery of the soldiers, we managed to defeat the relentless enemy and protect our territory. I was furious upon receiving the telegram. You and your comrades have brought honor to the party and the nation, fighting for our survival. The entire Chinese populace is inspired. The people's spirit remains unbroken, justice prevails, and the future is hopeful. We pledge to unite in our efforts. I shed tears in the wind and snow, unable to express all my thoughts. Chiang Kai-shek." Additionally, on the 19th, Chiang Kai-shek wrote to Ma Zhanshan: "I have read your telegram and am filled with sorrow and anger that words cannot capture. Our army has fought valiantly for days, bringing glory to our nation. Our reputation has spread widely, earning admiration both domestically and internationally, which is truly commendable. I have urged Deputy Commander Zhang to send troops to assist you. I miss you dearly as I write this message. Chiang Kai-shek." All major domestic newspapers covered the Jiangqiao Anti-Japanese War prominently, and various sectors of society conveyed their condolences to the frontline soldiers in numerous ways. Life Weekly, backed by Zou Taofen, remarked, "This spirit of defending the nation and refusing to surrender even in death is crucial for the future of the Chinese people. It demonstrates to the world that our soldiers are not entirely dishonorable and have restored significant pride for the nation." The Shanghai Fuchang Tobacco Company even created "General Ma Zhanshan Cigarettes," promoting the slogan, "May everyone emulate General Ma." On November 17th,, the Binjiang Times published an editorial stating, "The Chinese soldiers in Heilongjiang fought valiantly against the brutality of the Japanese army. The blood shed along the Nenjiang River is the legacy of our brave men. The Chinese army in Heilongjiang represents the true warriors defending the nation. After the September 18th Incident, we began to doubt how many Chinese soldiers could confront the enemy, and we were deeply disappointed. Fifty days after losing Liaoning and Jilin provinces, we realized that Ma Zhanshan in Heilongjiang truly deserves the title of Chinese soldier." People across the country spontaneously formed groups for condolences and support, donating money and supplies to aid Heilongjiang's resistance efforts. Many young students set aside their studies to join the Anti-Japanese Volunteer Army. I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me. Thus ended the Jiangqiao Campaign. General Ma Zhanshan proved himself quite a formidable rebel leader in the face of pretty overwhelming odds. His name was propagandized heavily by the Chinese press to boost morale and try to awaken the Chinese that a fight for their very existence was at hand, but China simply did not have the means yet to face such an enemy. 

Join Captain Jeff, Dr. Steph, Captain Nick, Producer Liz, Nick Camacho, AJ (Alpha Juliet). Enjoy! APG 649 SHOW NOTES WITH LINKS AND PICS 00:00:00 Introduction 00:05:43 NEWS 00:06:00 Washington National Airport, Midair Collision 00:53:17 Air Busan A321 at Busan, Fire During Departure Preparations 00:57:26 GETTING TO KNOW US 01:26:22 Plane Tale - RAF Form 414 - Volume 32 01:48:11 FEEDBACK 01:49:36 Sam - Buson 01:54:10 Shane - Jeju Crash Question 01:56:00 Sam - We've Come a Long Way, Baby 02:02:37 Michael - Never Heard of This One! 02:08:46 Sean - Don't You Dare Go Around 02:16:57 Peter - 717 “Voice” 02:21:27 WRAP UP Watch the video of our live stream recording! Go to our YouTube channel! Give us your review in iTunes! I'm "airlinepilotguy" on Facebook, and "airlinepilotguy" on Twitter. feedback@airlinepilotguy.com airlinepilotguy.com ATC audio from https://LiveATC.net Intro/outro Music, Coffee Fund theme music by Geoff Smith thegeoffsmith.com Dr. Steph's intro music by Nevil Bounds Capt Nick's intro music by Kevin from Norway (aka Kevski) Doh De Oh by Kevin MacLeod is licensed under a Creative Commons Attribution license (https://creativecommons.org/licenses/by/4.0/) Source: https://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100255 Artist: https://incompetech.com/ Copyright © AirlinePilotGuy 2025, All Rights Reserved Airline Pilot Guy Show by Jeff Nielsen is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License