Podcasts about Busan

HORROR WITH SIR. STURDY EP. 565 – MONSTERS AMONG US: A HUNGRY NIGHTMARE IN SEOUL

Telepodcast 13 - Agosto de 2025. En esta décimotercera entrega os comentamos que hemos visto y leído este mes de agosto. Con la participación de la tripulación habitual junto a Pablingo y Antonio Monfort. En esta ocasión hablamos de: - La Esfera Luminosa. (novela) - Destino Titán. (película) - Kaiju Nº8. (serie de anime) - Mundos Posibles. (antología de relatos) - Secret Level. (serie de animación) - Train to Busan. (película) - El Tiempo de la Verdad. (novela) - El Abismo Secreto. (película) - Parallel. (película) Y damos difusión a la saga de libros juveniles "Iberian" del autor Daniel Martinson. Más información en su web: www.mundoiberian.com Si tú también has hecho o haces algo relacionado con la C-F y quieres que le demos difusión sin ningún tipo de compromiso, contacta con nosotros. Síguenos y contacta con nosotros a través de Facebook (www.facebook.com/retronautas), Twitter (@losretronautas), Bluesky (@losretronautas.bsky.social) o escríbenos a nuestro correo electrónico: losretronautas@gmx.com Puedes también unirte a nuestro canal de Telegram. Contacta con nosotros para facilitarte el enlace. Si te ha gustado este programa y quieres invitarnos a un café, puedes hacerlo a través de: https://ko-fi.com/retronautas Y si estás comprometido con la C-F viejuna puedes unirte a la infantería móvil retronaútica en: https://www.patreon.com/losretronautas o aquí mismo, en Ivoox. Como patrocinador, serás informado de nuestros planes de vuelo, y tendrás acceso anticipado a los podcast "Micronautas". Saludos desde los días del futuro pasado.

Declaraciones de Reynaldo Benito antes de viajar a Busan con el equipo femenino (28/28/2025)

He runs the channel "Jeju Eddy," sharing stories of Jeju travel and local life with 140,000 subscribers. Born and raised in Busan, he first came to Jeju in 2017 as a public health doctor, which began his connection with the island, and later he naturally decided to settle down here. His main profession is Korean medicine, and after working in local clinics during his military service, he opened his own clinic in 2023. While balancing the very different worlds of medical practice and video production, he continues to capture Jeju's landscapes, food, and daily life through continues to his content. From practical videos such as "Eight Reasons People Give Up Living in guides on local Jeju" to guides on local restaurants and travel courses, he offers information valuable to both residents and visitors. Looking ahead, he plans to keep creating videos that highlight the real charms of Jeju while also expanding into overseas travel content.

What goes bump in the night giving Kyle a fright? This week it's Train to Busan (2016) directed by Yeon Sang-ho. This South Korean zombie film has survivors searching for a safe haven by train. What secret club did the boys used to belong to? Should zombies be fast or slow? Are we team train, cruise ship, or rickshaw? Write something in Kyle's wedding guest book as the Boo Boys break it all down. 

Os curtas-metragens 'Amar ao Envelhecer' e 'Flores Invisíveis', serão exibidos no 9º Inter-City Film Festival, em Busan, na Coreia do Sul. Os filmes foram feitos durante as oficinas de formação do Instituto Querô.

Russian President Vladimir Putin is continuing to expand his friendship with North Korea, just this week reaffirming the relationship with the reclusive nation. But while North Korean soldiers and labourers are sent to Russia, what is in it for them and their nation?All to discuss with Robert E Kelly, Professor of Political Science, Pusan National University, Busan, South Korea.

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).

- Tổng Bí thư Tô Lâm dự lễ ra mắt Tổng lãnh sự quán Việt Nam tại Busan, Hàn Quốc.- Thủ tướng Phạm Minh Chính chủ trì Hội nghị tổng kết Chương trình mục tiêu quốc gia phát triển kinh tế - xã hội vùng đồng bào dân tộc thiểu số và miền núi.- Cho ý kiến về dự án Luật sửa đổi, bổ sung một số điều của Luật Giáo dục (sửa đổi), Chủ tịch Quốc hội Trần Thanh Mẫn đề nghị Cơ quan soạn thảo nghiên cứu theo hướng có bộ sách giáo khoa dùng chung.- Lần đầu Việt Nam ghép thành công đồng thời tim- phổi cho người suy đa tạng.- Tổng thống Mỹ Donald Trump tham dự Hội nghị trực tuyến với các nhà lãnh đạo Châu âu trước cuộc gặp Mỹ - Nga tại Alaska sau 2 ngày nữa.- Tình hình nhân đạo tại Gaza ngày càng nghiêm trọng.

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 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)