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DAVID MELTZER: PEOPLING OF THE AMERICAS Peopling of the Americas as Inferred from Ancient Genomics 1. Professor David Meltzer, an archaeologist, discusses how genomics provides a breakthrough over earlier methods like mitochondrial DNA by using the entire genome to reveal the complex tapestry of ancestry, showing mixing and cross-breeding among populations. Ancestral Native Americans arose from the admixture of Ancient North Siberians and an East Asian population around 26,000 to 24,000 years ago. During the last glacial maximum (23,000–19,000 years ago), lower sea levels exposed the land bridge connecting Siberia and Alaska, and these distinctive ancestral groups became isolated due to harsh glacial cold, positioning themselves to move further south.
You're listening to Burnt Toast! I'm Virginia Sole-Smith. You're listening to Burnt Toast. I'm Virginia Sole-Smith. Today, my conversation is with Kaila Yu. Kaila is an author based in Los Angeles. Her debut memoir, Fetishized: A Reckoning with Yellow Fever, Feminism, and Beauty, came out earlier this fall to a rave review in The New York Times. She's also a luxury travel and culture writer with bylines in The New York Times, Rolling Stone, The LA Times, Condé Nast Traveler and many more. Kaila's memoir grapples with her experience growing up Asian and female in a world that has so many stereotypes and expectations about both those things. We talk about the pressure to perform so many different kinds of specific beauty labor, the experience of being objectified sexually —and we really get into how we all navigate the dual reality of hating beauty standards and often feeling safer and happier complying with them. I learned so much from this book, and this conversation with Kaila. Don't forget that if you've bought Fat Talk from Split Rock Books, you can take 10% off your purchase of Fetishized there too — just use the code FATTALK at checkout. And if you value this conversation, a paid subscription is the best way to support our work!Join Burnt Toast!
In Good Wife, Wise Mother: Educating Han Taiwanese Girls Under Japanese Rule (U Washington Press, 2024), female education and citizenship serve as a lens through which to examine Taiwan's uniqueness as a colonial crossroads between Chinese and Japanese ideas and practices. A latecomer to the age of imperialism, Japan used modernization efforts in Taiwan to cast itself as a benevolent force among its colonial subjects and imperial competitors. In contrast to most European colonies, where only elites received an education, in Taiwan Japan built elementary schools intended for the entire population, including girls. In 1897 it developed a program known as “Good Wife, Wise Mother” that sought to transform Han Taiwanese girls into modern Japanese female citizens. Drawing on Japanese and Chinese newspapers, textbooks, oral interviews, and fiction, Fang Yu Hu illustrates how this seemingly progressive project advanced a particular Japanese vision of modernity, womanhood, and citizenship, to which the colonized Han Taiwanese people responded with varying degrees of collaboration, resistance, adaptation, and adoption. Hu also assesses the program's impact on Taiwan's class structure, male-female interactions, and political identity both during and after the end of Japanese occupation in 1945. Good Wife, Wise Mother expands the study of Taiwanese history by contributing important gendered and nonelite perspectives. It will be of interest to any historian concerned with questions of modernity, hybridity, and colonial nostalgia. Fang Yu Hu is assistant professor of History at the California State Polytechnic University, Pomona who specializes in modern East Asian history, with a focus on Taiwan, gender, colonialism, and cross-border flows. She has published in the journals ERAS of Monash University and Twentieth-Century China. Her current research focuses on Taiwanese migrants to mainland China and Southeast Asia in the first half of the 20th century. Li-Ping Chen is a visiting scholar in the Department of East Asian Languages and Cultures at the University of Southern California. Her research interests include literary translingualism, diaspora, and nativism in Sinophone, inter-Asian, and transpacific contexts. Relevant Link: NBN interview for Indoctrinating the Youth: Secondary Education in Wartime China and Postwar Taiwan, 1937-1960 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
In Good Wife, Wise Mother: Educating Han Taiwanese Girls Under Japanese Rule (U Washington Press, 2024), female education and citizenship serve as a lens through which to examine Taiwan's uniqueness as a colonial crossroads between Chinese and Japanese ideas and practices. A latecomer to the age of imperialism, Japan used modernization efforts in Taiwan to cast itself as a benevolent force among its colonial subjects and imperial competitors. In contrast to most European colonies, where only elites received an education, in Taiwan Japan built elementary schools intended for the entire population, including girls. In 1897 it developed a program known as “Good Wife, Wise Mother” that sought to transform Han Taiwanese girls into modern Japanese female citizens. Drawing on Japanese and Chinese newspapers, textbooks, oral interviews, and fiction, Fang Yu Hu illustrates how this seemingly progressive project advanced a particular Japanese vision of modernity, womanhood, and citizenship, to which the colonized Han Taiwanese people responded with varying degrees of collaboration, resistance, adaptation, and adoption. Hu also assesses the program's impact on Taiwan's class structure, male-female interactions, and political identity both during and after the end of Japanese occupation in 1945. Good Wife, Wise Mother expands the study of Taiwanese history by contributing important gendered and nonelite perspectives. It will be of interest to any historian concerned with questions of modernity, hybridity, and colonial nostalgia. Fang Yu Hu is assistant professor of History at the California State Polytechnic University, Pomona who specializes in modern East Asian history, with a focus on Taiwan, gender, colonialism, and cross-border flows. She has published in the journals ERAS of Monash University and Twentieth-Century China. Her current research focuses on Taiwanese migrants to mainland China and Southeast Asia in the first half of the 20th century. Li-Ping Chen is a visiting scholar in the Department of East Asian Languages and Cultures at the University of Southern California. Her research interests include literary translingualism, diaspora, and nativism in Sinophone, inter-Asian, and transpacific contexts. Relevant Link: NBN interview for Indoctrinating the Youth: Secondary Education in Wartime China and Postwar Taiwan, 1937-1960 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
In Good Wife, Wise Mother: Educating Han Taiwanese Girls Under Japanese Rule (U Washington Press, 2024), female education and citizenship serve as a lens through which to examine Taiwan's uniqueness as a colonial crossroads between Chinese and Japanese ideas and practices. A latecomer to the age of imperialism, Japan used modernization efforts in Taiwan to cast itself as a benevolent force among its colonial subjects and imperial competitors. In contrast to most European colonies, where only elites received an education, in Taiwan Japan built elementary schools intended for the entire population, including girls. In 1897 it developed a program known as “Good Wife, Wise Mother” that sought to transform Han Taiwanese girls into modern Japanese female citizens. Drawing on Japanese and Chinese newspapers, textbooks, oral interviews, and fiction, Fang Yu Hu illustrates how this seemingly progressive project advanced a particular Japanese vision of modernity, womanhood, and citizenship, to which the colonized Han Taiwanese people responded with varying degrees of collaboration, resistance, adaptation, and adoption. Hu also assesses the program's impact on Taiwan's class structure, male-female interactions, and political identity both during and after the end of Japanese occupation in 1945. Good Wife, Wise Mother expands the study of Taiwanese history by contributing important gendered and nonelite perspectives. It will be of interest to any historian concerned with questions of modernity, hybridity, and colonial nostalgia. Fang Yu Hu is assistant professor of History at the California State Polytechnic University, Pomona who specializes in modern East Asian history, with a focus on Taiwan, gender, colonialism, and cross-border flows. She has published in the journals ERAS of Monash University and Twentieth-Century China. Her current research focuses on Taiwanese migrants to mainland China and Southeast Asia in the first half of the 20th century. Li-Ping Chen is a visiting scholar in the Department of East Asian Languages and Cultures at the University of Southern California. Her research interests include literary translingualism, diaspora, and nativism in Sinophone, inter-Asian, and transpacific contexts. Relevant Link: NBN interview for Indoctrinating the Youth: Secondary Education in Wartime China and Postwar Taiwan, 1937-1960 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies
In Good Wife, Wise Mother: Educating Han Taiwanese Girls Under Japanese Rule (U Washington Press, 2024), female education and citizenship serve as a lens through which to examine Taiwan's uniqueness as a colonial crossroads between Chinese and Japanese ideas and practices. A latecomer to the age of imperialism, Japan used modernization efforts in Taiwan to cast itself as a benevolent force among its colonial subjects and imperial competitors. In contrast to most European colonies, where only elites received an education, in Taiwan Japan built elementary schools intended for the entire population, including girls. In 1897 it developed a program known as “Good Wife, Wise Mother” that sought to transform Han Taiwanese girls into modern Japanese female citizens. Drawing on Japanese and Chinese newspapers, textbooks, oral interviews, and fiction, Fang Yu Hu illustrates how this seemingly progressive project advanced a particular Japanese vision of modernity, womanhood, and citizenship, to which the colonized Han Taiwanese people responded with varying degrees of collaboration, resistance, adaptation, and adoption. Hu also assesses the program's impact on Taiwan's class structure, male-female interactions, and political identity both during and after the end of Japanese occupation in 1945. Good Wife, Wise Mother expands the study of Taiwanese history by contributing important gendered and nonelite perspectives. It will be of interest to any historian concerned with questions of modernity, hybridity, and colonial nostalgia. Fang Yu Hu is assistant professor of History at the California State Polytechnic University, Pomona who specializes in modern East Asian history, with a focus on Taiwan, gender, colonialism, and cross-border flows. She has published in the journals ERAS of Monash University and Twentieth-Century China. Her current research focuses on Taiwanese migrants to mainland China and Southeast Asia in the first half of the 20th century. Li-Ping Chen is a visiting scholar in the Department of East Asian Languages and Cultures at the University of Southern California. Her research interests include literary translingualism, diaspora, and nativism in Sinophone, inter-Asian, and transpacific contexts. Relevant Link: NBN interview for Indoctrinating the Youth: Secondary Education in Wartime China and Postwar Taiwan, 1937-1960 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies
In Good Wife, Wise Mother: Educating Han Taiwanese Girls Under Japanese Rule (U Washington Press, 2024), female education and citizenship serve as a lens through which to examine Taiwan's uniqueness as a colonial crossroads between Chinese and Japanese ideas and practices. A latecomer to the age of imperialism, Japan used modernization efforts in Taiwan to cast itself as a benevolent force among its colonial subjects and imperial competitors. In contrast to most European colonies, where only elites received an education, in Taiwan Japan built elementary schools intended for the entire population, including girls. In 1897 it developed a program known as “Good Wife, Wise Mother” that sought to transform Han Taiwanese girls into modern Japanese female citizens. Drawing on Japanese and Chinese newspapers, textbooks, oral interviews, and fiction, Fang Yu Hu illustrates how this seemingly progressive project advanced a particular Japanese vision of modernity, womanhood, and citizenship, to which the colonized Han Taiwanese people responded with varying degrees of collaboration, resistance, adaptation, and adoption. Hu also assesses the program's impact on Taiwan's class structure, male-female interactions, and political identity both during and after the end of Japanese occupation in 1945. Good Wife, Wise Mother expands the study of Taiwanese history by contributing important gendered and nonelite perspectives. It will be of interest to any historian concerned with questions of modernity, hybridity, and colonial nostalgia. Fang Yu Hu is assistant professor of History at the California State Polytechnic University, Pomona who specializes in modern East Asian history, with a focus on Taiwan, gender, colonialism, and cross-border flows. She has published in the journals ERAS of Monash University and Twentieth-Century China. Her current research focuses on Taiwanese migrants to mainland China and Southeast Asia in the first half of the 20th century. Li-Ping Chen is a visiting scholar in the Department of East Asian Languages and Cultures at the University of Southern California. Her research interests include literary translingualism, diaspora, and nativism in Sinophone, inter-Asian, and transpacific contexts. Relevant Link: NBN interview for Indoctrinating the Youth: Secondary Education in Wartime China and Postwar Taiwan, 1937-1960 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/education
In Good Wife, Wise Mother: Educating Han Taiwanese Girls Under Japanese Rule (U Washington Press, 2024), female education and citizenship serve as a lens through which to examine Taiwan's uniqueness as a colonial crossroads between Chinese and Japanese ideas and practices. A latecomer to the age of imperialism, Japan used modernization efforts in Taiwan to cast itself as a benevolent force among its colonial subjects and imperial competitors. In contrast to most European colonies, where only elites received an education, in Taiwan Japan built elementary schools intended for the entire population, including girls. In 1897 it developed a program known as “Good Wife, Wise Mother” that sought to transform Han Taiwanese girls into modern Japanese female citizens. Drawing on Japanese and Chinese newspapers, textbooks, oral interviews, and fiction, Fang Yu Hu illustrates how this seemingly progressive project advanced a particular Japanese vision of modernity, womanhood, and citizenship, to which the colonized Han Taiwanese people responded with varying degrees of collaboration, resistance, adaptation, and adoption. Hu also assesses the program's impact on Taiwan's class structure, male-female interactions, and political identity both during and after the end of Japanese occupation in 1945. Good Wife, Wise Mother expands the study of Taiwanese history by contributing important gendered and nonelite perspectives. It will be of interest to any historian concerned with questions of modernity, hybridity, and colonial nostalgia. Fang Yu Hu is assistant professor of History at the California State Polytechnic University, Pomona who specializes in modern East Asian history, with a focus on Taiwan, gender, colonialism, and cross-border flows. She has published in the journals ERAS of Monash University and Twentieth-Century China. Her current research focuses on Taiwanese migrants to mainland China and Southeast Asia in the first half of the 20th century. Li-Ping Chen is a visiting scholar in the Department of East Asian Languages and Cultures at the University of Southern California. Her research interests include literary translingualism, diaspora, and nativism in Sinophone, inter-Asian, and transpacific contexts. Relevant Link: NBN interview for Indoctrinating the Youth: Secondary Education in Wartime China and Postwar Taiwan, 1937-1960 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies
In Good Wife, Wise Mother: Educating Han Taiwanese Girls Under Japanese Rule (U Washington Press, 2024), female education and citizenship serve as a lens through which to examine Taiwan's uniqueness as a colonial crossroads between Chinese and Japanese ideas and practices. A latecomer to the age of imperialism, Japan used modernization efforts in Taiwan to cast itself as a benevolent force among its colonial subjects and imperial competitors. In contrast to most European colonies, where only elites received an education, in Taiwan Japan built elementary schools intended for the entire population, including girls. In 1897 it developed a program known as “Good Wife, Wise Mother” that sought to transform Han Taiwanese girls into modern Japanese female citizens. Drawing on Japanese and Chinese newspapers, textbooks, oral interviews, and fiction, Fang Yu Hu illustrates how this seemingly progressive project advanced a particular Japanese vision of modernity, womanhood, and citizenship, to which the colonized Han Taiwanese people responded with varying degrees of collaboration, resistance, adaptation, and adoption. Hu also assesses the program's impact on Taiwan's class structure, male-female interactions, and political identity both during and after the end of Japanese occupation in 1945. Good Wife, Wise Mother expands the study of Taiwanese history by contributing important gendered and nonelite perspectives. It will be of interest to any historian concerned with questions of modernity, hybridity, and colonial nostalgia. Fang Yu Hu is assistant professor of History at the California State Polytechnic University, Pomona who specializes in modern East Asian history, with a focus on Taiwan, gender, colonialism, and cross-border flows. She has published in the journals ERAS of Monash University and Twentieth-Century China. Her current research focuses on Taiwanese migrants to mainland China and Southeast Asia in the first half of the 20th century. Li-Ping Chen is a visiting scholar in the Department of East Asian Languages and Cultures at the University of Southern California. Her research interests include literary translingualism, diaspora, and nativism in Sinophone, inter-Asian, and transpacific contexts. Relevant Link: NBN interview for Indoctrinating the Youth: Secondary Education in Wartime China and Postwar Taiwan, 1937-1960 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day
Plus: How to take your thoughts less seriously and be the calmest person in the room. GuoGu (AKA Dr. Jimmy Yu) is the founder of the Tallahassee Chan Center and a Professor of Buddhism and East Asian religions at Florida State University. He is the author of several books, including The Essence of Chan (2012), Passing Through the Gateless Barrier (2016), and Silent Illumination (2021). In this episode we talk about: Embodied experiencing How words and language shape our reality The practice of wonderment Body scan meditation The importance of relaxation — and how to do it if you have pain The 4 things you need in order for meditation to do its job How to carry all of this into daily life — GuoGu gets super practical here Join Dan's online community here Follow Dan on social: Instagram, TikTok Subscribe to our YouTube Channel Additional Resources: Tallahassee Chan Center & Talks by Guo Gu (YouTube Channel) Tickets are now on sale for a special live taping of the 10% Happier Podcast with guest Pete Holmes! Join us on November 18th in NYC for this benefit show, with all proceeds supporting the New York Insight Meditation Center. Grab your tickets here! To advertise on the show, contact sales@advertisecast.com or visit https://advertising.libsyn.com/10HappierwithDanHarris Thanks to our sponsors: AT&T: Staying connected matters. That's why AT&T has connectivity you can depend on, or they will proactively make it right. Visit att.com/guarantee for details. Northwest Registered Agent: Protect your privacy, build your brand and get your complete business identity in just 10 clicks and 10 minutes. Visit https://www.northwestregisteredagent.com/happierfree and start building something amazing.
Join us as we discuss our October 2025 book club pick, Bat Eater and Other Names for Cora Zeng by Kylie Lee Baker, a Chinese American horror story taking place during the COVID-19 pandemic following Cora Zeng, a crime scene cleaner haunted by the trauma of witnessing her sister's murder in a NYC subway station, as well as what appears to be her sister's actual hungry ghost. We follow Cora and her co-workers on a blood-soaked quest as they try to simultaneously figure out how to exorcise her ghost, as well as solve a series of serial murders in NYC, all involving East Asian women.Books & Boba is a podcast dedicated to reading and featuring books by Asian and Asian American authorsSupport the Books & Boba Podcast by:Joining our Patreon to receive exclusive perksPurchasing books at our bookshopRocking our Books & Boba merchFollow our hosts:Reera Yoo (@reeraboo)Marvin Yueh (@marvinyueh)Follow us:InstagramTwitterGoodreadsFacebookThe Books & Boba November 2025 book club pick is Taiwan Travelogue by Shuang-zi Yang, translated by Lin KingThis podcast is part of Potluck: An Asian American Podcast Collective
Last time we spoke about the fall of Wuhan. In a country frayed by war, the Yangtze became a pulsing artery, carrying both hunger and hope. Chiang Kai-shek faced a brutal choice: defend Wuhan to the last man, or flood the rivers to buy time. He chose both, setting sullen floodwaters loose along the Yellow River to slow the invaders, a temporary mercy that spared some lives while ripping many from their homes. On the river's banks, a plethora of Chinese forces struggled to unite. The NRA, fractured into rival zones, clung to lines with stubborn grit as Japanese forces poured through Anqing, Jiujiang, and beyond, turning the Yangtze into a deadly corridor. Madang's fortifications withstood bombardment and gas, yet the price was paid in troops and civilians drowned or displaced. Commanders like Xue Yue wrestled stubbornly for every foothold, every bend in the river. The Battle of Wanjialing became a symbol: a desperate, months-long pincer where Chinese divisions finally tightened their cordon and halted the enemy's flow. By autumn, the Japanese pressed onward to seize Tianjiazhen and cut supply lines, while Guangzhou fell to a ruthless blockade. The Fall of Wuhan loomed inevitable, yet the story remained one of fierce endurance against overwhelming odds. #174 The Changsha Fire Welcome to the Fall and Rise of China Podcast, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about the history of Asia? Kings and Generals have an assortment of episodes on history of asia and much more so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel where I cover the history of China and Japan from the 19th century until the end of the Pacific War. In the summer of 1938, amid the upheaval surrounding Chiang Kai-shek, one of his most important alliances came to an end. On June 22, all German advisers to the Nationalist government were summoned back; any who refused would be deemed guilty of high treason. Since World War I, a peculiar bond had tied the German Weimar Republic and China: two fledgling states, both weak and only partially sovereign. Under the Versailles Treaty of 1919, Germany had lost extraterritorial rights on Chinese soil, which paradoxically allowed Berlin to engage with China as an equal partner rather than a traditional colonizer. This made German interests more welcome in business and politics than those of other Western powers. Chiang's military reorganization depended on German officers such as von Seeckt and von Falkenhausen, and Hitler's rise in 1933 had not immediately severed the connection between the two countries. Chiang did not share Nazi ideology with Germany, but he viewed Berlin as a potential ally and pressed to persuade it to side with China rather than Japan as China's principal East Asian, anti-Communist partner. In June 1937, H. H. Kung led a delegation to Berlin, met Hitler, and argued for an alliance with China. Yet the outbreak of war and the Nationalists' retreat to Wuhan convinced Hitler's government to align with Japan, resulting in the recall of all German advisers. Chiang responded with a speech praising von Falkenhausen, insisting that "our friend's enemy is our enemy too," and lauding the German Army's loyalty and ethics as a model for the Chinese forces. He added, "After we have won the War of Resistance, I believe you'll want to come back to the Far East and advise our country again." Von Falkenhausen would later become the governor of Nazi-occupied Belgium, then be lauded after the war for secretly saving many Jewish lives. As the Germans departed, the roof of the train transporting them bore a prominent German flag with a swastika, a prudent precaution given Wuhan's vulnerability to air bombardment. The Japanese were tightening their grip on the city, even as Chinese forces, numbering around 800,000, made a stubborn stand. The Yellow River floods blocked northern access, so the Japanese chose to advance via the Yangtze, aided by roughly nine divisions and the might of the Imperial Navy. The Chinese fought bravely, but their defenses could not withstand the superior technology of the Japanese fleet. The only substantial external aid came from Soviet pilots flying aircraft bought from the USSR as part of Stalin's effort to keep China in the war; between 1938 and 1940, some 2,000 pilots offered their services. From June 24 to 27, Japanese bombers relentlessly pounded the Madang fortress along the Yangtze until it fell. A month later, on July 26, Chinese defenders abandoned Jiujiang, southeast of Wuhan, and its civilian population endured a wave of atrocities at the hands of the invaders. News of Jiujiang's fate stiffened resolve. Chiang delivered a pointed address to his troops on July 31, arguing that Wuhan's defense was essential and that losing the city would split the country into hostile halves, complicating logistics and movement. He warned that Wuhan's defense would also be a spiritual test: "the place has deep revolutionary ties," and public sympathy for China's plight was growing as Japanese atrocities became known. Yet Chiang worried about the behavior of Chinese soldiers. He condemned looting as a suicidal act that would destroy the citizens' trust in the military. Commanders, he warned, must stay at their posts; the memory of the Madang debacle underscored the consequences of cowardice. Unlike Shanghai, Wuhan had shelters, but he cautioned against retreating into them and leaving soldiers exposed. Officers who failed in loyalty could expect no support in return. This pep talk, combined with the belief that the army was making a last stand, may have slowed the Japanese advance along the Yangtze in August. Under General Xue Yue, about 100,000 Chinese troops pushed back the invaders at Huangmei. At Tianjiazhen, thousands fought until the end of September, with poison gas finally forcing Japanese victory. Yet even then, Chinese generals struggled to coordinate. In Xinyang, Li Zongren's Guangxi troops were exhausted; they expected relief from Hu Zongnan's forces, but Hu instead withdrew, allowing Japan to capture the city without a fight. The fall of Xinyang enabled Japanese control of the Ping-Han railway, signaling Wuhan's doom. Chiang again spoke to Wuhan's defenders, balancing encouragement with a grim realism about possible loss. Although Wuhan's international connections were substantial, foreign aid would be unlikely. If evacuation became necessary, the army should have a clear plan, including designated routes. He recalled the disastrous December retreat from Nanjing, where "foreigners and Chinese alike turned it into an empty city." Troops had been tired and outnumbered; Chiang defended the decision to defend Nanjing, insisting the army had sacrificed itself for the capital and Sun Yat-sen's tomb. Were the army to retreat again, he warned, it would be the greatest shame in five thousand years of Chinese history. The loss of Madang was another humiliation. By defending Wuhan, he argued, China could avenge its fallen comrades and cleanse its conscience; otherwise, it could not honor its martyrs. Mao Zedong, observing the situation from his far-off base at Yan'an, agreed strongly that Chiang should not defend Wuhan to the death. He warned in mid-October that if Wuhan could not be defended, the war's trajectory would shift, potentially strengthening the Nationalists–Communists cooperation, deepening popular mobilization, and expanding guerrilla warfare. The defense of Wuhan, Mao argued, should drain the enemy and buy time to advance the broader struggle, not become a doomed stalemate. In a protracted war, some strongholds might be abandoned temporarily to sustain the longer fight. The Japanese Army captured Wuchang and Hankou on 26 October and captured Hanyang on the 27th, which concluded the campaign in Wuhan. The battle had lasted four and a half months and ended with the Nationalist army's voluntary withdrawal. In the battle itself, the Japanese army captured Wuhan's three towns and held the heartland of China, achieving a tactical victory. Yet strategically, Japan failed to meet its objectives. Imperial Headquarters believed that "capturing Hankou and Guangzhou would allow them to dominate China." Consequently, the Imperial Conference planned the Battle of Wuhan to seize Wuhan quickly and compel the Chinese government to surrender. It also decreed that "national forces should be concentrated to achieve the war objectives within a year and end the war against China." According to Yoshiaki Yoshimi and Seiya Matsuno, Hirohito authorized the use of chemical weapons against China by specific orders known as rinsanmei. During the Battle of Wuhan, Prince Kan'in Kotohito transmitted the emperor's orders to deploy toxic gas 375 times between August and October 1938. Another memorandum uncovered by Yoshimi indicates that Prince Naruhiko Higashikuni authorized the use of poison gas against the Chinese on 16 August 1938. A League of Nations resolution adopted on 14 May condemned the Imperial Japanese Army's use of toxic gas. Japan's heavy use of chemical weapons against China was driven by manpower shortages and China's lack of poison gas stockpiles to retaliate. Poison gas was employed at Hankou in the Battle of Wuhan to break Chinese resistance after conventional assaults had failed. Rana Mitter notes that, under General Xue Yue, approximately 100,000 Chinese troops halted Japanese advances at Huangmei, and at the fortress of Tianjiazhen, thousands fought until the end of September, with Japanese victory secured only through the use of poison gas. Chinese generals also struggled with coordination at Xinyang; Li Zongren's Guangxi troops were exhausted, and Hu Zongnan's forces, believed to be coming to relieve them, instead withdrew. Japan subsequently used poison gas against Chinese Muslim forces at the Battle of Wuyuan and the Battle of West Suiyuan. However, the Chinese government did not surrender with the loss of Wuhan and Guangzhou, nor did Japan's invasion end with Wuhan and Guangzhou's capture. After Wuhan fell, the government issued a reaffirmation: "Temporary changes of advance and retreat will not shake our resolve to resist the Japanese invasion," and "the gain or loss of any city will not affect the overall situation of the war." It pledged to "fight with even greater sorrow, greater perseverance, greater steadfastness, greater diligence, and greater courage," dedicating itself to a long, comprehensive war of resistance. In the Japanese-occupied rear areas, large armed anti-Japanese forces grew, and substantial tracts of territory were recovered. As the Japanese army themselves acknowledged, "the restoration of public security in the occupied areas was actually limited to a few kilometers on both sides of the main transportation lines." Thus, the Battle of Wuhan did not merely inflict a further strategic defeat on Japan; it also marked a turning point in Japan's strategic posture, from offense to defense. Due to the Nationalist Army's resolute resistance, Japan mobilized its largest force to date for the attack, about 250,000 personnel, who were replenished four to five times over the battle, for a total of roughly 300,000. The invaders held clear advantages in land, sea, and air power and fought for four and a half months. Yet they failed to annihilate the Nationalist main force, nor did they break the will to resist or the army's combat effectiveness. Instead, the campaign dealt a severe blow to the Japanese Army's vitality. Japanese-cited casualties totaled 4,506 dead and 17,380 wounded for the 11th Army; the 2nd Army suffered 2,300 killed in action, 7,600 wounded, and 900 died of disease. Including casualties across the navy and the air force, the overall toll was about 35,500. By contrast, the Nationalist Government Military Commission's General Staff Department, drawing on unit-level reports, calculated Japanese casualties at 256,000. The discrepancy between Japanese and Nationalist tallies illustrates the inflationary tendencies of each side's reporting. Following Wuhan, a weakened Japanese force confronted an extended front. Unable to mount large-scale strategic offensives, unlike Shanghai, Xuzhou, or Wuhan itself, the Japanese to a greater extent adopted a defensive posture. This transition shifted China's War of Resistance from a strategic defensive phase into a strategic stalemate, while the invaders found themselves caught in a protracted war—a development they most disliked. Consequently, Japan's invasion strategy pivoted: away from primary frontal offensives toward a greater reliance on political inducements with secondary military action, and toward diverting forces to "security" operations behind enemy lines rather than pushing decisive frontal campaigns. Japan, an island nation with limited strategic resources, depended heavily on imports. By the time of the Marco Polo Bridge Incident, Japan's gold reserves,including reserves for issuing banknotes, amounted to only about 1.35 billion yen. In effect, Japan's currency reserves constrained the scale of the war from the outset. The country launched its aggression while seeking an early solution to the conflict. To sustain its war of aggression against China, the total value of military supplies imported from overseas in 1937 reached approximately 960 million yen. By June of the following year, for the Battle of Wuhan, even rifles used in training were recalled to outfit the expanding army. The sustained increase in troops also strained domestic labor, food, and energy supplies. By 1939, after Wuhan, Japan's military expenditure had climbed to about 6.156 billion yen, far exceeding national reserves. This stark reality exposed Japan's economic fragility and its inability to guarantee a steady supply of military materiel, increasing pressure on the leadership at the Central Command. The Chief of Staff and the Minister of War lamented the mismatch between outward strength and underlying weakness: "Outwardly strong but weak is a reflection of our country today, and this will not last long." In sum, the Wuhan campaign coincided with a decline in the organization, equipment, and combat effectiveness of the Japanese army compared with before the battle. This erosion of capability helped drive Japan to alter its political and military strategy, shifting toward a method of inflicting pressure on China and attempting to "use China to control China", that is, fighting in ways designed to sustain the broader war effort. Tragically a major element of Chiang Kai-shek's retreat strategy was the age-old "scorched earth" policy. In fact, China originated the phrase and the practice. Shanghai escaped the last-minute torching because of foreigners whose property rights were protected. But in Nanjing, the burning and destruction began with increasing zeal. What could not be moved inland, such as remaining rice stocks, oil in tanks, and other facilities, was to be blown up or devastated. Civilians were told to follow the army inland, to rebuild later behind the natural barrier of Sichuan terrain. Many urban residents complied, but the peasantry did not embrace the plan. The scorched-earth policy served as powerful propaganda for the occupying Japanese army and, even more so, for the Reds. Yet they could hardly have foreseen the propaganda that Changsha would soon supply them. In June, the Changsha Evacuation Guidance Office was established to coordinate land and water evacuation routes. By the end of October, Wuhan's three towns had fallen, and on November 10 the Japanese army captured Yueyang, turning Changsha into the next primary invasion target. Beginning on October 9, Japanese aircraft intensified from sporadic raids on Changsha to large-scale bombing. On October 27, the Changsha Municipal Government urgently evacuated all residents, exempting only able-bodied men, the elderly, the weak, women, and children. The baojia system was mobilized to go door-to-door, enforcing compliance. On November 7, Chiang Kai-shek convened a military meeting at Rongyuan Garden to review the war plan and finalize a "scorched earth war of resistance." Xu Quan, Chief of Staff of the Security Command, drafted the detailed implementation plan. On November 10, Shi Guoji, Chief of Staff of the Security Command, presided over a joint meeting of Changsha's party, government, military, police, and civilian organizations to devise a strategy. The Changsha Destruction Command was immediately established, bringing together district commanders and several arson squads. The command actively prepared arson equipment and stacked flammable materials along major traffic arteries. Chiang decided that the city of Changsha was vulnerable and either gave the impression or the direct order, honestly really depends on the source your reading, to burn the city to the ground to prevent it falling to the enemy. At 9:00 AM on November 12, Chiang Kai-shek telegraphed Zhang Zhizhong: "One hour to arrive, Chairman Zhang, Changsha, confidential. If Changsha falls, the entire city must be burned. Please make thorough preparations in advance and do not delay." And here it seems a game of broken telephone sort of resulted in one of the worst fire disasters of all time. If your asking pro Chiang sources, the message was clearly, put up a defense, once thats fallen, burn the city down before the Japanese enter. Obviously this was to account for getting civilians out safely and so forth. If you read lets call it more modern CPP aligned sources, its the opposite. Chiang intentionally ordering the city to burn down as fast as possible, but in through my research, I think it was a colossal miscommunication. Regardless Zhongzheng Wen, Minister of the Interior, echoed the message. Simultaneously, Lin Wei, Deputy Director of Chiang Kai-shek's Secretariat, instructed Zhang Zhizhong by long-distance telephone: "If Changsha falls, the entire city must be burned." Zhang summoned Feng Ti, Commander of the Provincial Capital Garrison, and Xu Quan, Director of the Provincial Security Bureau, to outline arson procedures. He designated the Garrison Command to shoulder the preparations, with the Security Bureau assisting. At 4:00 PM, Zhang appointed Xu Kun, Commander of the Second Garrison Regiment, as chief commander of the arson operation, with Wang Weining, Captain of the Social Training Corps, and Xu Quan, Chief of Staff of the Garrison Command, as deputies. At 6:00 PM, the Garrison Command held an emergency meeting ordering all government agencies and organizations in the city to be ready for evacuation at any moment. By around 10:15 PM, all urban police posts had withdrawn. Around 2:00 AM (November 13), a false report circulated that "Japanese troops have reached Xinhe" . Firefighters stationed at various locations rushed out with kerosene-fueled devices, burning everything in sight, shops and houses alike. In an instant, Changsha became a sea of flames. The blaze raged for 72 hours. The Hunan Province Anti-Japanese War Loss Statistics, compiled by the Hunan Provincial Government Statistics Office of the Kuomintang, report that the fire inflicted economic losses of more than 1 billion yuan, a sum equivalent to about 1.7 trillion yuan after the victory in the war. This figure represented roughly 43% of Changsha's total economic value at the time. Regarding casualties, contemporary sources provide varying figures. A Xinhua Daily report from November 20, 1938 noted that authorities mobilized manpower to bury more than 600 bodies, though the total number of burned remains could not be precisely counted. A Central News Agency reporter on November 19 stated that in the Xiangyuan fire, more than 2,000 residents could not escape, and most of the bodies had already been buried. There are further claims that in the Changsha Fire, more than 20,000 residents were burned to death. In terms of displacement, Changsha's population before the fire was about 300,000, and by November 12, 90% had been evacuated. After the fire, authorities registered 124,000 victims, including 815 orphans sheltered in Lito and Maosgang. Building damage constituted the other major dimension of the catastrophe, with the greatest losses occurring to residential houses, shops, schools, factories, government offices, banks, hospitals, newspaper offices, warehouses, and cultural and entertainment venues, as well as numerous historic buildings such as palaces, temples, private gardens, and the former residences of notable figures; among these, residential and commercial structures suffered the most, followed by factories and schools. Inspector Gao Yihan, who conducted a post-fire investigation, observed that the prosperous areas within Changsha's ring road, including Nanzheng Street and Bajiaoting, were almost completely destroyed, and in other major markets only a handful of shops remained, leading to an overall estimate that surviving or stalemated houses were likely less than 20%. Housing and street data from the early post-liberation period reveal that Changsha had more than 1,100 streets and alleys; of these, more than 690 were completely burned and more than 330 had fewer than five surviving houses, accounting for about 29%, with nearly 90% of the city's streets severely damaged. More than 440 streets were not completely destroyed, but among these, over 190 had only one or two houses remaining and over 130 had only three or four houses remaining; about 60 streets, roughly 6% had 30 to 40 surviving houses, around 30 streets, 3% had 11 to 20 houses, 10 streets, 1% had 21 to 30 houses, and three streets ) had more than 30 houses remaining. Housing statistics from 1952 show that 2,538 houses survived the fire, about 6.57% of the city's total housing stock, with private houses totaling 305,800 square meters and public houses 537,900 square meters. By 1956, the surviving area of both private and public housing totaled 843,700 square meters, roughly 12.3% of the city's total housing area at that time. Alongside these losses, all equipment, materials, funds, goods, books, archives, antiques, and cultural relics that had not been moved were also destroyed. At the time of the Changsha Fire, Zhou Enlai, then Deputy Minister of the Political Department of the Nationalist Government's Military Commission, was in Changsha alongside Ye Jianying, Guo Moruo, and others. On November 12, 1938, Zhou Enlai attended a meeting held by Changsha cultural groups at Changsha Normal School to commemorate Sun Yat-sen's 72nd birthday. Guo Moruo later recalled that Zhou Enlai and Ye Jianying were awakened by the blaze that night; they each carried a suitcase and evacuated to Xiangtan, with Zhou reportedly displaying considerable indignation at the sudden, unprovoked fire. On the 16th, Zhou Enlai rushed back to Changsha and, together with Chen Cheng, Zhang Zhizhong, and others, inspected the disaster. He mobilized personnel from three departments, with Tian Han and Guo Moruo at the forefront, to form the Changsha Fire Aftermath Task Force, which began debris clearance, care for the injured, and the establishment of soup kitchens. A few days later, on the 22nd, the Hunan Provincial Government established the Changsha Fire Temporary Relief Committee to coordinate relief efforts. On the night of November 16, 1938, Chiang Kai-shek arrived in Changsha and, the next day, ascended Tianxin Pavilion. Sha Wei, head of the Cultural Relics Section of the Changsha Tianxin Pavilion Park Management Office, and a long-time researcher of the pavilion, explained that documentation indicates Chiang Kai-shek, upon seeing the city largely reduced to scorched earth with little left intact, grew visibly angry. After descending from Tianxin Pavilion, Chiang immediately ordered the arrest of Changsha Garrison Commander Feng Ti, Changsha Police Chief Wen Chongfu, and Commander of the Second Garrison Regiment Xu Kun, and arranged a military trial with a two-day deadline. The interrogation began at 7:00 a.m. on November 18. Liang Xiaojin records that Xu Kun and Wen Chongfu insisted their actions followed orders from the Security Command, while Feng Ti admitted negligence and violations of procedure, calling his acts unforgivable. The trial found Feng Ti to be the principal offender, with Wen Chongfu and Xu Kun as accomplices, and sentenced all three to prison terms of varying lengths. The verdict was sent to Chiang Kai-shek for approval, who was deeply dissatisfied and personally annotated the drafts: he asserted that Feng Ti, as the city's security head, was negligent and must be shot immediately; Wen Chongfu, as police chief, disobeyed orders and fled, and must be shot immediately; Xu Kun, for neglect of duty, must be shot immediately. The court then altered the arson charge in the verdict to "insulting his duty and harming the people" in line with Chiang's instructions. Chiang Kai-shek, citing "failure to supervise personnel and precautions," dismissed Zhang from his post, though he remained in office to oversee aftermath operations. Zhang Zhizhong later recalled Chiang Kai-shek's response after addressing the Changsha fire: a pointed admission that the fundamental cause lay not with a single individual but with the collective leadership's mistakes, and that the error must be acknowledged as a collective failure. All eyes now shifted to the new center of resistance, Chongqing, the temporary capital. Chiang's "Free China" no longer meant the whole country; it now encompassed Sichuan, Hunan, and Henan, but not Jiangsu or Zhejiang. The eastern provinces were effectively lost, along with China's major customs revenues, the country's most fertile regions, and its most advanced infrastructure. The center of political gravity moved far to the west, into a country the Nationalists had never controlled, where everything was unfamiliar and unpredictable, from topography and dialects to diets. On the map, it might have seemed that Chiang still ruled much of China, but vast swaths of the north and northwest were sparsely populated; most of China's population lay in the east and south, where Nationalist control was either gone or held only precariously. The combined pressures of events and returning travelers were gradually shifting American attitudes toward the Japanese incident. Europe remained largely indifferent, with Hitler absorbing most attention, but the United States began to worry about developments in the Pacific. Roosevelt initiated a January 1939 appeal to raise a million dollars for Chinese civilians in distress, and the response quickly materialized. While the Chinese did not expect direct intervention, they hoped to deter further American economic cooperation with Japan and to halt Japan's purchases of scrap iron, oil, gasoline, shipping, and, above all, weapons from the United States. Public opinion in America was sufficiently stirred to sustain a campaign against silk stockings, a symbolic gesture of boycott that achieved limited effect; Japan nonetheless continued to procure strategic materials. Within this chorus, the left remained a persistent but often discordant ally to the Nationalists. The Institute of Pacific Relations, sympathetic to communist aims, urged America to act, pressuring policymakers and sounding alarms about China. Yet the party line remained firmly pro-Chiang Kai-shek: the Japanese advance seemed too rapid and threatening to the Reds' interests. Most oil and iron debates stalled; American businessmen resented British trade ties with Japan, and Britain refused to join any mutual cutoff, arguing that the Western powers were not at war with Japan. What occurred in China was still commonly referred to in Western diplomatic circles as "the Incident." Wang Jingwei's would make his final defection, yes in a long ass history of defections. Mr Wang Jingwei had been very busy traveling to Guangzhou, then Northwest to speak with Feng Yuxiang, many telegrams went back and forth. He returned to the Nationalist government showing his face to foreign presses and so forth. While other prominent rivals of Chiang, Li Zongren, Bai Chongxi, and others, rallied when they perceived Japan as a real threat; all did so except Wang Jingwei. Wang, who had long believed himself the natural heir to Sun Yat-sen and who had repeatedly sought to ascend to power, seemed willing to cooperate with Japan if it served his own aims. I will just say it, Wang Jingwei was a rat. He had always been a rat, never changed. Opinions on Chiang Kai-Shek vary, but I think almost everyone can agree Wang Jingwei was one of the worst characters of this time period. Now Wang Jingwei could not distinguish between allies and enemies and was prepared to accept help from whomever offered it, believing he could outmaneuver Tokyo when necessary. Friends in Shanghai and abroad whispered that it was not too late to influence events, arguing that the broader struggle was not merely China versus Japan but a clash between principled leaders and a tyrannical, self-serving clique, Western imperialism's apologists who needed Chiang removed. For a time Wang drifted within the Kuomintang, moving between Nanjing, Wuhan, Changsha, and Chongqing, maintaining discreet lines of communication with his confidants. The Japanese faced a governance problem typical of conquerors who possess conquered territory: how to rule effectively while continuing the war. They imagined Asia under Japanese-led leadership, an East Asia united by a shared Co-Prosperity Sphere but divided by traditional borders. To sustain this vision, they sought local leaders who could cooperate. The search yielded few viable options; would-be collaborators were soon assassinated, proved incompetent, or proved corrupt. The Japanese concluded it would require more time and education. In the end, Wang Jingwei emerged as a preferred figure. Chongqing, meanwhile, seemed surprised by Wang's ascent. He had moved west to Chengde, then to Kunming, attempted, and failed to win over Yunnan's warlords, and eventually proceeded to Hanoi in Indochina, arriving in Hong Kong by year's end. He sent Chiang Kai-shek a telegram suggesting acceptance of Konoe's terms for peace, which Chungking rejected. In time, Wang would establish his own Kuomintang faction in Shanghai, combining rigorous administration with pervasive secret-police activity characteristic of occupied regimes. By 1940, he would be formally installed as "Chairman of China." But that is a story for another episode. In the north, the Japanese and the CCP were locked in an uneasy stalemate. Mao's army could make it impossible for the Japanese to hold deep countryside far from the railway lines that enabled mass troop movement into China's interior. Yet the Communists could not defeat the occupiers. In the dark days of October 1938—fifteen months after the war began—one constant remained. Observers (Chinese businessmen, British diplomats, Japanese generals) repeatedly predicted that each new disaster would signal the end of Chinese resistance and force a swift surrender, or at least a negotiated settlement in which the government would accept harsher terms from Tokyo. But even after defenders were expelled from Shanghai, Nanjing, and Wuhan, despite the terrifying might Japan had brought to bear on Chinese resistance, and despite the invader's manpower, technology, and resources, China continued to fight. Yet it fought alone. I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me. In a land shredded by war, Wuhan burned under brutal sieges, then Changsha followed, a cruel blaze born of orders and miscommunications. Leaders wrestled with retreat, scorched-earth vows, and moral debts as Japanese force and Chinese resilience clashed for months. Mao urged strategy over martyrdom, Wang Jingwei's scheming shadow loomed, and Chongqing rose as the westward beacon. Yet China endured, a stubborn flame refusing to surrender to the coming storm. The war stretched on, unfinished and unyielding.
The last time we spoke, Ishiwara had been spending considerable amounts of time with the Kwantung Army staff trying to figure out a way to push the envelope on seizing Manchuria. Ishiwara and his like minded colleagues had tried everything to persuade the Imperial Japanese army high command to initiate a course of action, but everytime the message was the same “wait, wait until next year, we can't do this at this time”. In 1931 Ishiwara and Itagaki organized the last major expedition into Northern Manchuria to get the newest recruited Kwantung officers up to speed and ready for plans they had been cooking up. Captain Nakamura Shintaro disappeared on the way back to Port Arthur. The Kwantung officers took the initiative, one could call it “Gekokujo / ruling from below” because without approval, in fact basically against the orders of high command they mobilized their forces outside their designated railway zone and headed for Mukden to quote “get the Chinese military to help investigate the Nakamura disappearance”. When Tokyo HQ got a whiff of this they dispatched a telegram immediately demanding the Kwantung officers get their men back and not use the Nakamura incident as a way of “solving the Manchurian problem” For Ishiwara this was the last straw. He doubled down and pushed for a plot to provoke military conflict outside of Mukden. As he wrote in almost a messianic Nichiren conviction ‘I will be the pillar of Japan; I will be the eyes of Japan; I will be the great vessel of Japan” . During the last hectic weeks, General Honjo Shigeru arrived to take command of the Kwantung Army and there is no solid evidence Ishiwara and his radical group had disclosed their plans to him. However when everything began to move into motion, Honjo agreed to Ishiwara's military solution for the Manchurian problem. On september 18th of 1931, a bomb was planted by the Kwantung army upon the south manchurian railway tracks at Liutiaokou. There was an explosion and the Kwantung army immediately claimed it to be a Chinese plot and moved with skill and precision to overrun the Peitaying Barracks. General Honjo's first reaction was hesitation, but then he committed additional units to aid the radicals and upon seeing the chaos unfold, ordered the seizure of all of Mukden in the process. Investigators would find the actions of Honjo over the course of the next few days to be quite indecisive. At first he seemed to be attempting to localize the incident, but then, likely as a result of Ishiwara and Itagaki pressuring him, relented to ordering a general assault on all Chinese positions in the area. Thus what was a isolated incident, transformed into a major offensive, and that major offensive was largely directed by two of Honjo's subordinates, as you may guess Ishiwara and Itagaki. Now after the bomb explosion, the next 10 days saw southern and central Manchuria suddenly under the control of the Kwantung army. Itagaki as a senior staff officer and full colonel, was technically Ishiwara's superior, but for the next 4 months it appears Ishiwara was the main driver behind the military actions. Itagaki was quote to say to a friend during the offensive “Never mind Honjo, it's Ishiwara's War”. And indeed, being so far from Tokyo HQ's control, it really was Ishiwara's war. Tokyo dispatched official orders on September the 19th opposing the offensive, despite a lot of sympathy for the cause amongst the high commanders. Ishiwara and Inagaki had been planning this for months, they were willing to risk it all, so they disobeyed and carried on. Ishiwara began by first coercing Honjo for reinforcements and freedom to take initiative, as he was quoted asking ‘to pursue actively the security and order of all of Manchuria”. Now obviously Ishiwara and Itagaki wanted to expand the offensive through the officials means firstmost, but they definitely went around the officials channels as well. One devious method they employed was to create chaos for civilians in Manchurian cities, thus increasing the need for better security for Japanese residents. This would allow the Kwantung army troops to deploy past their set perimeters. Immediately after what is now called “the Mukden incident”, military agents were dispatched to Kirin to create some chaos within the city. Reports of incidents from Kirin began to poor into the Kwantung Army HQ alongside Ishiwara demanding Honjo dispatch forces to Kirin to protect Japanese residents there. He also advocated for demanding reinforcements from the Korea Army, but Honjo was unwilling to go that far. It seems Ishiwara feared missing a golden opportunity and chose another course of action. On the night of the 20th, he gathered together a bunch of younger Kwantung officers such as Itagaki's assistant, Captain Katakura Tadashi and told them “I can't do anything more to budge the commander and so i'm giving up my responsibilities for the direction of operations. Katakura, you take over”. Well it seems this little ploy had the intended effect as all the young officers immediately began pressuring Honjo to support Ishiwara's demands to advance to Kirin, many of them threatening to resign. After several hours of the officers nagging, Honjo related and authorized the despatch of troops. The operation against Kirin was carried out in lightning fast speed. Ishiwara directed the bulk of the 2nd division led by General Tamon Jiro to rush over to Kirin by rail. They entered the city without firing a single shot and forced the local Chinese commander to proclaim the independence of the province from Zhang Xueliang's regime. Within hours after this, the Korea army responded to a aid request sent out by the Kwantung Army staff on september 21st and began moving into Manchuria. Within only 48 hours the Japanese military had seized Kirin which lay outside the Kwantung operational zone and the Korea army was invading Manchuria without any approval from Tokyo, military discipline thus had been shattered. Chief of staff Kanaya Hanzo had issued specific orders to limit the scope of the Kwantung army's operations and entrusted discretionary authority to the field commanders for certain emergency situations, usually of a local nature. The Kirin expedition did not exactly fall within any of these boundaries. Bolstered by their success, Ishiwara and Itagaki followed up the Kirin operation by pressing for an advance upon Harbin. As you might recall from the previous episode, the entire idea of taking Manchuria was built upon speed and precision. The Kwantung army had tiny forces compared to the immediate Chinese forces in Manchuria. However here they were blocked by directives sent from Tokyo HQ which forbade the movement of Kwantung troops beyond the south manchuria railway, up to this point they had limited their actions along those margins. Ishiwara attempted arguing something on more political lines. He argued Japan should aid Manchurian independence and sent the idea straight to Tokyo central HQ. In a sharp rebuff on October 3rd, Tokyo HQ affirmed its opposition to expanding the hostilities and rejected the political idea. With the hard no from Tokyo HQ, the Kwantung radicals thought the only course of action was to cause even more chaos to force the issue. Ishiwara took the lead again, trying to toss Tokyo HQ off balance. Ishiwara personally went out on October the 8th, dressed in military pilot gear and slipped into one of five Chinese aircraft that had been seized at Mukdens airfield. He then personally led a raid, though later in life, such as at the Tokyo War crimes trials he would argue the flight was supposed to be just a reconnaissance of enemy activities at Chinchou. As he asserted, it was only at the last minute, some intelligence sprang up that anti-aircraft guns had been installed at Chinchou and thus the Kwantung army Commander had given permission to neutralize them if fired upon. Ishiwara stated that he and the 4 other aircraft accompanying him were fired upon and thus they dropped around 75 bombs on Chinchou, yes quite the course of events. As you might guess, more contemporary accounts would indicate this was a premeditated effort designed to freak out Tokyo. The raid against Chinchou did indeed freak out Tokyo, the staff there began to fear the west would begin tossing condemnation upon them. Tokyo high command was in a bad spot. They felt obliged to back up the Kwantung army publically, by issuing post-facto approval of the many chaotic attacks, but internally they were livid. Major Endo Saburo of the intelligence division was sent to Manchuria to investigate the Chinchou situation. Saburo said upon asking Ishiwara what occurred, he responded that he had acted under the principle of field initiative and that was the reason why he never informed Tokyo in advance. Saburo also noted the manner in which he spoke to him indicated that Saburo alongside the intelligence division should mind their own business. Saburo also found out there were murmurs in Manchuria that if Tokyo high command did not get onboard, the Kwantung army was prepared to go it alone. It seemed the radical Kwantung officers would even go against the imperial japanese army command to get what they wanted. Ishiwara went as far as to send this telegram to Tokyo “For the sake of the nation we are doing our very best in Manchuria, but if the Japanese government constantly interferes we cannot complete our great work. Then the Kwantung army will have to come to the point where we will have to break the glorious history of the imperial army and separate ourselves from the empire”.If you thought this was pretty nuts, a rumor also emerged that Ishiwara and Itagaki were going to use an independent Manchuria as a base to perform a coup d'etat against the Japanese government, to overthrow the capitalists strangling the people and to establish a national socialist regime built around the emperor. For those of you who know your 1930's Japanese government by assassination history, you know exactly what this rumor is about, a little something that will occur in 1936. Whether Ishiwara and Itagaki actually intended to do this is unknown, but they certainly put out the word. On october 18th, war minister Minami Jiro sent a telegram over to the Kwantung army ordering them to cease any and all talk of making Manchuria independent or trying to take control of it. Alongside that, they sent operations section, Colonel Imamura Hitoshi to Manchuria to talk some sense into Ishiwara and Itagaki. They all met at a restaurant in Mukden where Imamura began by explaining the purpose of his mission, but before he could even really begin, Ishiwara blurted out “whats the matter? Doesn't central headquarters have any backbone?” A great way to start a meeting to be sure. Imamura tried to explain the situation, but Ishiwara said “if we follow the spineless Tokyo approach we'll never settle the Manchurian problem”. Imamura replied “we can't accomplish anything by following the arbitrary decision of field elements, which may create a crisis that will shake the whole army. In such a problem it is essential for the whole nation to be unified”. To this Ishiwara apparently said really loudly in the restaurant that he was sleepy, rolled over on the tatami and closed his eyes. Imamura furious haha, get up quickly after denouncing his so called hosts for conducting official IJA business at a restaurant and left. The next day they all met again, where Ishiwara and Itagaki kept speaking about the necessity to create an independent state, since there was no hope of the Chinese reforming Manchuria. After Imamura left that meeting, Ishiwara said to Itagaki “Imamura is a fine fellow, but he doesn't understand China”. And so despite the chaos and mania, the Kwantung Army had been restrained from pursuing any sustained military action through october. Ishiwara as you would imagine kept arguing they had to advance into northern manchuria. In early november Ishiwara got lucky again, finding a pretext in more destroyed railways. The rail bridges over the Nonni river south of Tsitsihar had allegedly been blown up by hostile Chinese forces. When Japanese engineer units showed up to repair the damaged tracks they were fired upon by Chinese forces. To the high officials in Tokyo it looked like a justifiable reason to take defensive measures. This was also being meet with Kwantung intelligence information being sent to Tokyo that Chinese forces in northern Manchuria were planning a southward offensive. Ishiwara had provided some rather exaggerated reports to the Japanese public to manipulate their opinion through the press which in turn put pressure on Tokyo into supporting an advance into northern manchuria. Tokyo authorized a defensive operation, limited to time and distance aimed at defending the Japanese positions at the Nonni River bridges. Kwantung army forces began moving north and soon were engaged in heavy fighting around the railway area of Tahsing. Ishiwara personally led men during this, it would actually be the only time in his military career to do so. General Honjo, rightfully feared the Kwantung forces were getting out of hand sent a cabled on November 5th announcing under the “rinsan inmei / provisional mandate”, the general staff was assuming direct command authority in Manchuria. As you can imagine Ishiwara and his like minded Kwantung officer colleagues were livid. Honjo followed this up by stating he would resign if they did not comply, but Ishiwara brushed off the provisional mandate stating “that the directive from the chief of staff is just a personal, not an imperial order. No matter how many we get of those we shouldn't' care. We'll just go ahead with our plans”. On november 17, the Kwantung army began advancing upon the city of Tsitsihar seizing it 2 days later. Facing yet another terrible situation publicly, the IJA high command allowed the Kwantung to advance upon Tsitsihar, but then uproar started abroad, forcing them to order the city evacuated. Ishiwara then began a huge argument amongst the staff stating the evacuation was unacceptable because of the sacrifices the forces had already made. But Honjo was standing firm. Then a few days later, Chinese forces began to assemble at Chinchou and there had been some conflicts emerging between Japanese and chinese forces at Tientsin. Well Ishiwara immediately went to work demanding Honjo launch an offensive on Chinchou as a first step of linking their forces closer to Tientsin incase they were overwhelmed. To secure the advance, they also asked the Korea army to help out. Yet again Tokyo was tossed the hot potato. Tokyo high command ordered an immediate cease to the offensive and a withdrawal east of the Liao river. The Kwantung army paused, not so much before of the order, but because the Korea army refused to participate in the offensive against Chinchou, and they were most definitely needed. Ishiwara faced a dilemma, without the reinforcements the entire offensive might be doomed. And then fatefully, Premier Wakatsuki was outed on December 11th.War Minister Minami and Chief of staff Kanaya, both who tried to moderate the Kwantung army's offensives were replaced by Araki Sadao an aggressive leader of the Kodoha Faction, known in english as “the imperial way faction”. To explain a bit, within the Japanese military there were cliques, kind of like the warlords cliques in many ways. They fought to direct the future operations of the IJA and even IJN to an extent. There were two main ones that influenced the 1930's heavily, the Kodoha and Toseiha (control faction). The Kodoha were not an organized political party, nor did they have an official standing within the IJA, but they were certainly influential. Kodoha members tended to be younger officers in the IJA, particularly those in the Kwantung army. General Sadao Araki was a founder of the faction and they were heavily influenced by Bushido, Fascism and the Kokutai. They sought a return to “the good old days” as one says. They say liberal democracy as a poison hurting Japan. They viewed the capitalists, industrialists and elites of Japan, ie the politicians, bureaucrats and Zaibatsu leaders to be responsible for ruining the once great nation. They wanted to see the Emperor take back full power, in what they would call a “showa restoration”. Their number one enemy, as was viewed by most of the Japanese military at this time, was the USSR and communism as a whole. Thus they were also by proxy in favor of the Hokushin-ron “northern strike policy” which was the Japanese theoretical war plan to invade the USSR. Now I don't want to go to far down the rabbit whole, but due note they were counter balanced by another faction known as the Toseiha faction, who were I guess to put it lightly, more moderate. The Toseiha were headed by Hideki Tojo famously and they opposed the Kodoha faction on a few grounds, one important one being, they did not want to cause a violent revolution to usher in the Emperor dominance. The Toseiha shared a lot of principles with the Kodoha, but they did not favor the Hokushin-ron strategy and instead adopted the Nanshin-ron strategy “southern strike” into southeast asia and the resource rich dutch east indies. It goes without saying the Toseiha faction enjoyed better relations with the IJN. So just to place this story within the political realm we are speaking, these two factions began to compete heavily for dominance 1931 onwards. With Araki Sadao and some help from Prince Kan'in who was a Kodoha sympathizer things dramatically changed in Tokyo command. All of a sudden, offensive operations against Chinese forces in Manchuria became “bandit suppression” campaigns. The Kwantung army with Tokyo's full backing soon pursued all their military objectives, set out by Ishiwara and Itagaki since September. Chinchou and Shanhaikwan were seized in early January of 1932; Tsitsihar by February and by spring of 1932 Ishiwara argued to the staff they should complete the full seizure of Manchuria both north and south. In April that year he laid out “Manshu haiti heiryaku / the program for pacification of manchuria”. This new plan called for the seizure of Hailar in the north because “it was pivotal to the defense against the USSR”. It also called for seizing Jehol province because “it was an important condition to the independence of Manchuria”. By the end of the year Hailar was taken and in 1933 the Kwantung army was marching upon Jehol. It goes without saying Ishiwara was central to the conquest of Manchuria. The Kwantung Army and IJA overall had numerous options laid bare to them to solve the Manchurian problem, but Ishiwara's primary concern was total control over Manchuria for its resources, strategic position and to obtain a continental base for a war against America. To Ishiwara, taking all of Manchuria was necessary to prepare for the Final War. Without Ishiwara it is certain there would have been conflict in Manchuria between Japan and China, but would Japan have outright seized the province? Ishiwara spent years planning and pushing the envelope. When the plan was unleashed, it would turn out Ishiwara and his colleagues did not have a concrete timetable for conquest and lacked quite a few contingency plans. Despite the chaotic nature of it all, the conquest of Manchuria was a stunning success. So much so, Ishiwara said to a friend of his, Satomi Kishio in 1932 “Even if Japan has to face the entire world, she can't be beaten”. Ironically as many of you know, Japan's actions in Manchuria cost her greatly. Japan was now hated by the Chinese, well much more so. The west condemned Japan's actions, alongside the USSR. As my professor first taught me in a class about the Pacific War when I was a wee lad in his early 20's “It all was about Manchuria, everything started with Manchuria, and it ended with Manchuria in 1945”. The Manchuria affair started Japan on an inevitable course to fight the China War, which inturn led her to fight the west. It was a self-fulfilling prophecy. The entire affair also brings into question the subject of military discipline. Many look at the Gekokujo variable as an explanation as to how people like Ishiwara and Itagaki got away with all they did. You know, these militarist hardtype junior officers just ran amok, performed some rebellious acts defying their superiors, forcing their hands to become accomplices. Now don't get me wrong Gekokujo definitely played a hand, particularly when you look at Ishiwara. But it does not take away from the fact there simply was a high level of indiscipline within the Japanese army. Ishiwara would have been 100% fully aware what his actions might result in, hell the guy before him, Colonel Komoto Daisaku is a great example. Ishiwara spent a long time with Komoto and saw the man's career broken as he was exiled for the Huanggutun incident. But Ishiwara was not only focus on Manchuria, he had a close eye on the political situation in Tokyo. Ishiwara knew the 1931 cabinet was crumbling, he knew certain high officials like Araki Sadao were in fast track position for promotions and their sympathies were with his cause. Ishiwara was betting, certain sympathizers such as Kodoha faction aligned ones would take seats of power necessary to help push his cause. His gamble more than paid off. All the main actors in the Manchurian affair were rewarded for their accomplishments. Ishiwara received the Order of the Golden Kite 3rd class. More importantly he returned to Japan as a rockstar hero, the younger IJA officers were enthralled by him. Ironically Ishiwara had fostered indiscipline within the army more so, that when he went up the ladder becoming a member of the Tokyo staff it would bite him in the ass. Manchukuo and racial harmony Now Ishiwara's dream of taking control over Manchuria was almost purely a means to end end: ie to obtain resources and a strategic position to face America. Once Manchuria was under their control, Ishiwara directed his attention towards another goal aside from this, that of racial cooperation among the asian peoples. Manchukuo or rather Ishiwara's view of what it could be was a springboard of his vision for a East-Asian league, something that had a firm basis in his Final War theory. During Ishiwara's tour of duty in Manchuria in 1932, this Pan-Asian idea of what Manchukuo could be is what set him apart from many of his Kwantung Army colleagues, it also marked him to be very unorthodox within the IJA. Manchukuo as many of you probably know, was a sham puppet state created to legitimize Japan's seizure of Manchuria. The Japanese high command simply sought to use the guise of an indigenous movement for independence to hide the fact the simply invaded a part of China and stole it. To do this they went as far as grabbing the last Qing emperor, Puyi and tossing him upon the throne of the new state of Manchukuo while they tossed up principles of racial harmony. For obvious reasons this was all done. You can't control a region full of a population that rightfully hates you without trying to win them over. Now what the Japanese did have going for them, was there did exist elements in Manchuria who sought independence. This was Manchuria, the heart of Nurhaci's Manchu people, don't get me started on what a Manchu exactly is by the way, listen to the fall and rise of China podcast for that. The Japanese had a lot to work with, it could be seen as a righteous Qing revival, or simply giving power back to the Manchu. There was also a large presence of Mongolians, and yes Inner Mongolia would come into all of this. Manchuria came into the nationalist fold late and not exactly willingly. Also the fear of the USSR was not something Japan had alone, Manchuria had struggled against the USSR for a very long time. There was also of course a large Japanese settler population in Manchuria who obviously welcomed the seizure. The Zhang Xueliang regime was not exactly too too friendly to the Japanese within the borders and a lot of discriminatory measure had been exacted upon them. When Zhang Xueliang had joined the Nationalists this had basically spelt doom upon them, at some point they knew they would be kicked out. While the offensives were in full swing, Ishiwara and Itagaki met with other influential Kwantung Officers to figure out how they could exert control over Manchuria. Officer Katakura, chief of staff Miyake, Dohihara Kenji of the Mukden special service organ all met, looking over a previous plan created by Colonel Dohihara, for a multi racial autonomous nation of Manchuria. It was to be headed by the last Qing emperor, Puyi and needed to possess complete autonomy in internal matters, but its defense and foreign relations would be entrusted to Japan. Ishiwara drafted the plans by September 22nd and they were telegrammed to Tokyo on October 2nd. Tokyo high command disproved of the objectives, but nonetheless worked with the Kwantung army for 5 months on the creation of a new state based on two major principles: the so-called indigenous movement for Manchurian independence and the administrative planning for the Kwantung army to control it. The Kwantung army went to work using the traditional structure of Manchuria, local self governing bodies. They bribed, persuaded and threatened as many as they could throughout 1931 carefully cultivating a local autonomy movement against the Kuomintang hardliners. One of the first things they created was “Jichi Shidobu self-government guidance board”, whose organ was responsible for coordinating various regional movements for independence to work with the Kwantung army to, in the words of Miyake “guide Manchuria to self-government”. The head of this board was appointed to the Mukden elder statesmen Yu Ch'ung-han, a man educated in Japan and previous advisor to Zhang Zuolin. His board would consist of 20 Japanese and 10 Manchurian members. Such organs were opened Japanese civilians in Manchuria and they flocked to them to support the so called multiracial political structure, because they could bend it to their own benefit. The Kwantung army began tossing the slogans “racial harmony, racial equality and the righteous way” around heavily. The Kwantung army control over Manchuria was hashed out easily by establishing Japanese advisors over all organs who held ultimate veto authority, they would be appointed at all levels of government, thus everything was in reality Japanese controlled. Everything was going according to Ishiwara's vision….or was it? You would think so, and Ishiwara was definitely pushing all of this forward, but by 1933 he suddenly became a ferocious critic of the very beast he had helped create.
This show has been flagged as Clean by the host. Thibaut and Ken Interview David Revoy the artist behind the Pepper and Carrot. This photo is licensed under a Creative Commons Attribution 4.0 International license David has had a very interesting life, as can be seen by his Wikipedia entry. David Philippe Revoy born in 1981 in Reims, is a French artist best known as the creator of the free webcomic series Pepper and Carrot which is translated into 27 languages to a degree of 90 percent or more. Revoy worked as art director on the Blender short film Sintel, which was the first major project that used free software to produce free culture that Revoy encountered.He would later also work on the Blender films Tears of Steel and Cosmos Laundromat. https://en.wikipedia.org/wiki/David_Revoy During the interview we have a chat about how he became an artist, how he got involved in the Free Software Community and why he releases much of his work under a Creative Commons License. The following are links to just some of the topics we discussed. "Krita screenshot pepper and carrot" by David Revoy − CC-BY 4.0 Framasoft Framasoft is one of the main French language portals to the free and open-source culture providing a space for orientation, information, news, exchange, and projects. Its community regularly brings resources and assistance to people who would like to get started with free software. https://en.wikipedia.org/wiki/Framasoft Inkscape Inkscape is a free and open-source software vector graphics editor released under a GNU General Public License (GPL) 2.0 or later. It is used for both artistic and technical illustrations such as cartoons, clip art, logos, typography, diagrams, and flowcharts. It uses vector graphics to allow for sharp printouts and renderings at unlimited resolution and is not bound to a fixed number of pixels like raster graphics. https://en.wikipedia.org/wiki/Inkscape Krita Krita is a professional FREE and open source painting program. It is made by artists that want to see affordable art tools for everyone. https://krita.org/en/ Spring Spring is a 2019 animated fantasy short film written and directed by Andreas Goralczyk and produced by Ton Roosendaal and Francesco Siddi. It is the Blender Institute's 12th "open movie", and was made utilizing the open-source software, Blender. The film is about a young shepherd and her dog confronting ancient spirits in order to bring about the change of seasons. https://en.wikipedia.org/wiki/Spring_(2019_film ) Cosmos Laundromat Cosmos Laundromat: First Cycle, developed under the code name Project Gooseberry, is 2015 animated absurdist science fantasy short film directed by Mathieu Auvray, written by Esther Wouda, and produced by Ton Roosendaal. It is the Blender Institute's 5th "open movie" project, and was made utilizing the Blender software. The film focuses around a depressed and suicidal sheep named Franck who is offered "all the lives he ever wanted" by a mysterious salesman named Victor. https://en.wikipedia.org/wiki/Cosmos_Laundromat Tears of Steel Tears of Steel (code-named Project Mango) is a short science fiction film by producer Ton Roosendaal and director/writer Ian Hubert. The film is both live-action and CGI; it was made using new enhancements to the visual effects capabilities of Blender, a free and open-source 3D computer graphics app. Set in a dystopian future, the short film features a group of warriors and scientists who gather at the Oude Kerk in Amsterdam in a desperate attempt to save the world from destructive robots. https://en.wikipedia.org/wiki/Tears_of_Steel Sintel Sintel (code-named Project Durian during production) is a 2010 animated fantasy short film. It was the third Blender "open movie". It was produced by Ton Roosendaal, chairman of the Blender Foundation, written by Esther Wouda, directed by Colin Levy, at the time an artist at Pixar and art direction by David Revoy, who is known for Pepper&Carrot, a free and open source webcomic series.[3] It was made at the Blender Institute, part of the Blender Foundation. The plot follows the character, Sintel, who is tracking down her pet Scales, a dragon. https://en.wikipedia.org/wiki/Sintel Dragon Ball Dragon Ball (Japanese: ドラゴンボール, Hepburn: Doragon Bōru) is a Japanese media franchise created by Akira Toriyama. The initial manga, written and illustrated by Toriyama, was serialized in Weekly Shōnen Jump from 1984 to 1995, with the 519 individual chapters collected in 42 tankōbon volumes by its publisher Shueisha. Dragon Ball was originally inspired by the classical 16th-century Chinese novel Journey to the West, combined with elements of Hong Kong martial arts films. Dragon Ball characters also use a variety of East Asian martial arts styles, including karate[1][2][3] and Wing Chun (kung fu).[2][3][4] The series follows the adventures of protagonist Son Goku from his childhood through adulthood as he trains in martial arts. He spends his childhood far from civilization until he meets a teenage girl named Bulma, who encourages him to join her quest in exploring the world in search of the seven orbs known as the Dragon Balls, which summon a wish-granting dragon when gathered. Along his journey, Goku makes several other friends, becomes a family man, discovers his alien heritage, and battles a wide variety of villains, many of whom also seek the Dragon Balls. https://en.wikipedia.org/wiki/Dragon_Ball Links https://www.davidrevoy.com/ https://www.peppercarrot.com/en/about/index.html Pepper and Carrot Episode 1 https://www.youtube.com/@DavidRevoy https://framagit.org/Deevad hpr4134 :: Goodbye Craig Maloney. Provide feedback on this episode.
Register here for the Live Call me Back event at the Streicker Center on Thursday Oct 23: https://t.co/Y5tCz9uXwoSubscribe here to INSIDE Call me Back: https://inside.arkmedia.orgRabbi Angela Buchdahl's book: https://tinyurl.com/4m4mrfftGift a subscription of Inside Call me Back: http://inside.arkmedia.org/giftsSubscribe to Amit Segal's newsletter ‘It's Noon in Israel': https://arkmedia.org/amitsegal/Watch Call me Back on YouTube: youtube.com/@CallMeBackPodcastCheck out Ark Media's other podcasts: For Heaven's Sake: https://lnk.to/rfGlrA‘What's Your Number?': https://lnk.to/rfGlrAFor sponsorship inquiries, please contact: callmeback@arkmedia.orgTo contact us, sign up for updates, and access transcripts, visit: https://arkmedia.org/Ark Media on Instagram: https://instagram.com/arkmediaorgDan on X: https://x.com/dansenorDan on Instagram: https://www.instagram.com/dansenorTo order Dan Senor & Saul Singer's book, The Genius of Israel: https://tinyurl.com/bdeyjsdnToday's Episode: For a bonus episode, Dan was joined by Rabbi Angela Buchdahl to discuss her new book Heart of a Stranger: An Unlikely Rabbi's Story of Faith, Identity, and Belonging. Rabbi Buchdahl is the senior rabbi at Central Synagogue in New York City. She was the first East-Asian to be ordained as a rabbi, and has received national recognition for her Jewish leadership, including being listed as one of Newsweek's “50 most influential rabbis.”She shares her journey from feeling like an outsider to Judaism to becoming a contemporary Jewish leader. They also discuss how Rabbi Buchdahl guided her congregation after Oct. 7 and how the past two years have changed the Jewish community around her. CREDITS:ILAN BENATAR - Producer & EditorADAAM JAMES LEVIN-AREDDY - Executive ProducerMARTIN HUERGO - Sound EditorMARIANGELES BURGOS - Additional EditingMAYA RACKOFF - Operations DirectorGABE SILVERSTEIN - ResearchYUVAL SEMO - Music Composer
For a bonus episode, Dan was joined by Rabbi Angela Buchdahl to discuss her new book Heart of a Stranger: An Unlikely Rabbi's Story of Faith, Identity, and Belonging. Rabbi Buchdahl is the senior rabbi at Central Synagogue in New York City. She was the first East-Asian to be ordained as a rabbi, and has […]
rWotD Episode 3088: Neo-Benshi Welcome to random Wiki of the Day, your journey through Wikipedia's vast and varied content, one random article at a time.The random article for Friday, 17 October 2025, is Neo-Benshi.Neo-Benshi is the practice of producing live alternate voice-overs for movies.The art form’s acknowledged starting point is in Korea, Japan, Taiwan and other East Asian nations during the silent film era. Benshi is a Japanese word referring to the oral "interpreter" who performed a live narrative accompaniment to silent movies, in lieu of showing intertitles with dialogue, etc. In Korean the practice is known as pyônsa. Currently, it is finding a resurgence among experimental poets in the San Francisco Bay area and Los Angeles.This recording reflects the Wikipedia text as of 00:39 UTC on Friday, 17 October 2025.For the full current version of the article, see Neo-Benshi on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Bluesky at @wikioftheday.com.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm long-form Gregory.
Commentary by Dr. Jian'an Wang.
HEADLINE: China's Coordinated Aggression in the South China Sea: Analyzing the Philippine Vessel Ramming Incident GUEST NAMES: John Batchelor (Host) and Jim Fanell, Retired US Navy Intelligence Officer 1000-WORD SUMMARY: The program featured an in-depth discussion between host John Batchelor and Jim Fanell, a retired United States Navy intelligence officer, focusing on a recent and troubling ramming incident in the contested waters of the South China Sea's Spratly Islands. This incident involved Chinese vessels deliberately ramming a Philippine resupply ship that was en route to a Philippine outpost, marking another escalation in the ongoing territorial disputes that have made the South China Sea one of the world's most volatile maritime flashpoints. Fanell provided expert analysis that fundamentally reframes how this incident should be understood. Rather than viewing it as an isolated action by an overzealous ship captain acting independently or a spontaneous confrontation that escalated beyond control, Fanell argues that the ramming was a carefully coordinated operation directed from the highest levels of the Chinese Communist Party. This assessment carries significant implications for understanding China's strategic intentions and the level of state control exercised over what might otherwise appear to be tactical-level maritime incidents. The coordinated nature of the operation becomes evident when examining the composition and deployment of Chinese forces involved in the incident. Fanell detailed that the ramming was not carried out by a single vessel but was instead supported by a substantial flotilla of Chinese maritime assets. This included vessels from China's maritime militia—ostensibly civilian fishing vessels that operate under state direction and serve paramilitary functions—multiple Coast Guard cutters representing China's official law enforcement presence at sea, and significantly, a warship from the People's Liberation Army Navy, representing the direct involvement of China's military forces. This multi-layered deployment of assets from different organizational structures within China's maritime forces demonstrates a level of coordination and planning that could only originate from centralized command authority. The presence of military, paramilitary, and quasi-civilian forces operating in concert reveals a sophisticated strategy designed to apply overwhelming pressure while maintaining some degree of plausible deniability about the military nature of the confrontation. Fanell emphasized that this incident is not an isolated occurrence but rather part of a consistent and identifiable pattern of Chinese operations concentrated in several key areas of the South China Sea. He specifically mentioned Scarborough Shoal, Sandy Cay, and Second Thomas Shoal as focal points of these coordinated Chinese activities. Each of these locations represents a contested feature in the South China Sea where the Philippines maintains claims and, in some cases, physical presence through grounded vessels or small outposts that serve as territorial markers. Scarborough Shoal, located approximately 120 miles from the Philippine coast, has been under effective Chinese control since a 2012 standoff, despite lying well within the Philippines' exclusive economic zone as defined by international law. Second Thomas Shoal has become particularly contentious because the Philippines deliberately grounded a World War II-era vessel, the Sierra Madre, on the shoal in 1999 to serve as a permanent outpost. The vessel houses a small garrison of Philippine marines, and China has repeatedly attempted to prevent resupply missions to this outpost, creating recurring confrontations. The pattern Fanell describes reveals a strategy of incremental pressure designed to exhaust the Philippines' ability and willingness to maintain its presence in these disputed areas. By consistently interfering with resupply operations, China aims to make it prohibitively difficult, dangerous, and expensive for the Philippines to sustain its outposts, potentially forcing their eventual abandonment and allowing China to assert de facto control. Fanell's analysis places this aggressive maritime behavior within the broader context of China's strategic objectives in the South China Sea. The Chinese Communist Party's ultimate goal, according to Fanell, is to establish complete sovereignty over the entire South China Sea, despite the overlapping claims of multiple neighboring countries including the Philippines, Vietnam, Malaysia, Brunei, and Taiwan, and despite a 2016 ruling by the Permanent Court of Arbitration in The Hague that rejected China's expansive claims as having no legal basis under international law. Control of the South China Sea would provide China with several strategic advantages. The region contains vital shipping lanes through which approximately one-third of global maritime trade passes, including substantial energy shipments to East Asian economies. The area is believed to contain significant oil and natural gas reserves, though estimates vary widely. Additionally, control of the South China Sea would extend China's defensive perimeter far from its mainland coast and provide greater ability to project power throughout the Indo-Pacific region. Fanell also contextualized the ramming incident within the current state of US-China relations, suggesting that China's aggressive actions are partly designed to apply pressure on the United States during a period of heightened economic tensions between the two powers. The United States has maintained that it has a national interest in preserving freedom of navigation in the South China Sea and has conducted regular "freedom of navigation operations" to challenge what it views as excessive Chinese maritime claims. The United States also maintains a mutual defense treaty with the Philippines, though the precise circumstances under which this treaty would be invoked in response to incidents in disputed waters remains a subject of ongoing strategic ambiguity. The incident and Fanell's analysis raise critical questions about the trajectory of tensions in the South China Sea and the potential for escalation. If China continues to employ increasingly aggressive tactics, coordinated at the highest levels of government, the risk of a serious confrontation—whether with the Philippines directly or with the United States in its role as a treaty ally—increases substantially. The international community faces the challenge of responding to Chinese actions that systematically erode the rules-based international order while stopping short of the kind of overt military aggression that would trigger clear and immediate responses. 1939 REUBEN JAMES
Bright on Buddhism - Feed Drop - Nihonshi, A Japanese History Podcast - Genpei War: Part 3Join me as I drop an episode of my forthcoming 2nd podcast, Nihonshi, a Japanese History Podcast. On this show, we will be discussing topics in Japanese history and diving deep into their circumstances, their context, and their significance. We will talk about who the major players were, what their agendas were, and why they did what they did. Hopefully, by the end of each episode, you will have a better understanding and appreciation of Japanese history, but also East Asian history in general. I hope you enjoy. https://linktr.ee/nihonshipodcasthttps://wck.org/relief/chefs-for-gazaDo you have a question about Buddhism that you'd like us to discuss? Let us know by emailing us at Bright.On.Buddhism@gmail.com.Credits:Nick Bright: Script, Cover Art, Music, Voice of Hearer, Co-HostProven Paradox: Editing, mixing and mastering, social media, Voice of Hermit, Co-Host
How and why did the Chinese Communist Party rise to power in the 1940s at the expense of its Nationalist (KMT) rival? In his new book, Domination and Mobilization: The Rise and Fall of Political Parties in China's Republican Era (Cambridge University Press, 2025), Professor Xiaobo Lü (UC Berkeley) adopts a new model for thinking about this question. Using new qualitative and quantitative evidence, Lü shows how CCP success was built on dominant leadership and its interaction with a strategy of mass-centric mobilization to harness resources. By contrast, the contested factional leadership of the KMT and its elite-centric mobilization held back the party's power, particularly after it lost its geographical and fiscal base during China's war with Japan. In this interview, Professor Lü draws out the comparison between the two parties going back to the 1920s. He discusses how both parties adapted to the challenges of the Nanjing Decade and the 1937-45 wartime period – and how the legacies of party-building before 1949 still affect China today. Domination and Mobilization is strongly recommended for anyone interested in modern Chinese history, comparative revolutions, and party mobilization in authoritarian systems. Mark Baker is lecturer (assistant professor) in East Asian history at the University of Manchester, UK. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science
How and why did the Chinese Communist Party rise to power in the 1940s at the expense of its Nationalist (KMT) rival? In his new book, Domination and Mobilization: The Rise and Fall of Political Parties in China's Republican Era (Cambridge University Press, 2025), Professor Xiaobo Lü (UC Berkeley) adopts a new model for thinking about this question. Using new qualitative and quantitative evidence, Lü shows how CCP success was built on dominant leadership and its interaction with a strategy of mass-centric mobilization to harness resources. By contrast, the contested factional leadership of the KMT and its elite-centric mobilization held back the party's power, particularly after it lost its geographical and fiscal base during China's war with Japan. In this interview, Professor Lü draws out the comparison between the two parties going back to the 1920s. He discusses how both parties adapted to the challenges of the Nanjing Decade and the 1937-45 wartime period – and how the legacies of party-building before 1949 still affect China today. Domination and Mobilization is strongly recommended for anyone interested in modern Chinese history, comparative revolutions, and party mobilization in authoritarian systems. Mark Baker is lecturer (assistant professor) in East Asian history at the University of Manchester, UK. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
How and why did the Chinese Communist Party rise to power in the 1940s at the expense of its Nationalist (KMT) rival? In his new book, Domination and Mobilization: The Rise and Fall of Political Parties in China's Republican Era (Cambridge University Press, 2025), Professor Xiaobo Lü (UC Berkeley) adopts a new model for thinking about this question. Using new qualitative and quantitative evidence, Lü shows how CCP success was built on dominant leadership and its interaction with a strategy of mass-centric mobilization to harness resources. By contrast, the contested factional leadership of the KMT and its elite-centric mobilization held back the party's power, particularly after it lost its geographical and fiscal base during China's war with Japan. In this interview, Professor Lü draws out the comparison between the two parties going back to the 1920s. He discusses how both parties adapted to the challenges of the Nanjing Decade and the 1937-45 wartime period – and how the legacies of party-building before 1949 still affect China today. Domination and Mobilization is strongly recommended for anyone interested in modern Chinese history, comparative revolutions, and party mobilization in authoritarian systems. Mark Baker is lecturer (assistant professor) in East Asian history at the University of Manchester, UK. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
How and why did the Chinese Communist Party rise to power in the 1940s at the expense of its Nationalist (KMT) rival? In his new book, Domination and Mobilization: The Rise and Fall of Political Parties in China's Republican Era (Cambridge University Press, 2025), Professor Xiaobo Lü (UC Berkeley) adopts a new model for thinking about this question. Using new qualitative and quantitative evidence, Lü shows how CCP success was built on dominant leadership and its interaction with a strategy of mass-centric mobilization to harness resources. By contrast, the contested factional leadership of the KMT and its elite-centric mobilization held back the party's power, particularly after it lost its geographical and fiscal base during China's war with Japan. In this interview, Professor Lü draws out the comparison between the two parties going back to the 1920s. He discusses how both parties adapted to the challenges of the Nanjing Decade and the 1937-45 wartime period – and how the legacies of party-building before 1949 still affect China today. Domination and Mobilization is strongly recommended for anyone interested in modern Chinese history, comparative revolutions, and party mobilization in authoritarian systems. Mark Baker is lecturer (assistant professor) in East Asian history at the University of Manchester, UK. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies
How and why did the Chinese Communist Party rise to power in the 1940s at the expense of its Nationalist (KMT) rival? In his new book, Domination and Mobilization: The Rise and Fall of Political Parties in China's Republican Era (Cambridge University Press, 2025), Professor Xiaobo Lü (UC Berkeley) adopts a new model for thinking about this question. Using new qualitative and quantitative evidence, Lü shows how CCP success was built on dominant leadership and its interaction with a strategy of mass-centric mobilization to harness resources. By contrast, the contested factional leadership of the KMT and its elite-centric mobilization held back the party's power, particularly after it lost its geographical and fiscal base during China's war with Japan. In this interview, Professor Lü draws out the comparison between the two parties going back to the 1920s. He discusses how both parties adapted to the challenges of the Nanjing Decade and the 1937-45 wartime period – and how the legacies of party-building before 1949 still affect China today. Domination and Mobilization is strongly recommended for anyone interested in modern Chinese history, comparative revolutions, and party mobilization in authoritarian systems. Mark Baker is lecturer (assistant professor) in East Asian history at the University of Manchester, UK. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies
How and why did the Chinese Communist Party rise to power in the 1940s at the expense of its Nationalist (KMT) rival? In his new book, Domination and Mobilization: The Rise and Fall of Political Parties in China's Republican Era (Cambridge University Press, 2025), Professor Xiaobo Lü (UC Berkeley) adopts a new model for thinking about this question. Using new qualitative and quantitative evidence, Lü shows how CCP success was built on dominant leadership and its interaction with a strategy of mass-centric mobilization to harness resources. By contrast, the contested factional leadership of the KMT and its elite-centric mobilization held back the party's power, particularly after it lost its geographical and fiscal base during China's war with Japan. In this interview, Professor Lü draws out the comparison between the two parties going back to the 1920s. He discusses how both parties adapted to the challenges of the Nanjing Decade and the 1937-45 wartime period – and how the legacies of party-building before 1949 still affect China today. Domination and Mobilization is strongly recommended for anyone interested in modern Chinese history, comparative revolutions, and party mobilization in authoritarian systems. Mark Baker is lecturer (assistant professor) in East Asian history at the University of Manchester, UK.
Michael Low and Luna Uni: A New World of RPG Writing InstructionIn this episode of Experience Points, host Dave Eng welcomes Michael Low—educator, game designer, and creator of Stories RPG. Michael shares the powerful story behind Luna Uni, a tabletop role-playing curriculum that transforms writing instruction through collaborative storytelling. From 100% student writing gains to building emotionally resonant classrooms, Michael explains how play, character-driven narratives, and East Asian story structures can supercharge literacy and connection. Whether you're an educator, gamer, or curious learner, this episode unpacks the magic of fusing RPGs with pedagogy to build a joyful, self-sustaining learning culture.If you liked this episode please consider commenting, sharing, and subscribing.Subscribing is absolutely free and ensures that you'll get the next episode of Experience Points delivered directly to you.I'd also love it if you took some time to rate the show!I live to lift others with learning. So, if you found this episode useful, consider sharing it with someone who could benefit.Also make sure to visit University XP online at www.universityxp.comUniversity XP is also on Twitter @University_XP and on Facebook and LinkedIn as University XPAlso, feel free to email me anytime at dave@universityxp.comGame on!Get the full transcript and references for this episode here: https://www.universityxp.com/podcast/148 Support the show
Bright on Buddhism - Feed Drop - Nihonshi, A Japanese History Podcast - Genpei War: Part 2Join me as I drop an episode of my forthcoming 2nd podcast, Nihonshi, a Japanese History Podcast. On this show, we will be discussing topics in Japanese history and diving deep into their circumstances, their context, and their significance. We will talk about who the major players were, what their agendas were, and why they did what they did. Hopefully, by the end of each episode, you will have a better understanding and appreciation of Japanese history, but also East Asian history in general. I hope you enjoy. https://linktr.ee/nihonshipodcasthttps://wck.org/relief/chefs-for-gazaDo you have a question about Buddhism that you'd like us to discuss? Let us know by emailing us at Bright.On.Buddhism@gmail.com.Credits:Nick Bright: Script, Cover Art, Music, Voice of Hearer, Co-HostProven Paradox: Editing, mixing and mastering, social media, Voice of Hermit, Co-Host
This week Jun and Daniel discuss the evolution of acquired tastes in food, turbulent political news from America, controversial tech updates, and a thought-provoking listener perspective on violence in Western vs. East Asian culture. Daniel shares his milestone of finally accepting sundae (Korean blood sausage) after years of trying, prompting a broader conversation about cilantro, kimchi, and how palates develop differently across cultures. The hosts then dive into heavy news topics including immigration enforcement affecting Korean nationals and the deeply polarizing assassination of Charlie Kirk. Jun analyzes recent tech updates from Apple's "liquid glass" iOS design to KakaoTalk's controversial Instagram-like interface changes, examining the concept of originality versus imitation. The episode concludes with a powerful listener message from Portugal about perceptions of violence in American society versus the emotional intimacy of East Asian media, sparking reflection on whether the global rise of K-content represents a cultural backlash against Western chaos.If you're interested in any of these questions, tune in to hear Daniel and Jun discuss all this and more!As a reminder, we publish our episodes bi-weekly 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 the showWe 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 Member of the iyagi media network
Perilla, also known as Shiso (Perilla frutescens), yields an essential oil with a unique, sharp, green aroma that carries hints of spice and earthiness. Traditionally used in East Asian cultures, this oil is rich in antioxidants and supports respiratory and digestive health. Emotionally and spiritually, Perilla essential oil fosters mental clarity, reduces nervous tension, and creates a protective energetic shield, helping you stay grounded and centred amid chaos or overstimulation.ABOUT ADAM BARRALET Adam Barralet has been observing and living in tune with nature since childhood. Growing up amongst the bushland and wildlife of the hills in Western Australia and residing in various locations around the world has presented Adam with diverse opportunities to access extensive and eclectic teachings about the secrets of Mother Earth. He has used essential oils for over 30 years and teams his experiences with his background in human biology, chemistry, psychology, health sciences and massage.He has now established himself as an international author, presenter, educator and Wellness Advocate, adept at working with essential oils, along with crystals, animal guides, tarot, astrology and mythology. CONNECT WITH ADAM HERE: https://linktr.ee/adambarralet ABOUT ELIZABETH ASHLEYElizabeth Ashley has over 20 books on sale on Amazon under her pen name The Secret Healer. The UK Director of the National Association for Holistic Aromatherapy and an overseas speaker for The International Federation of Aromatherapists, Elizabeth's work focuses on understanding the very earliest energetic relationships between certain plants and the human world, right up the modern-day scientific evidence of healing botanicals.A practicing Melissa priestess, a plant and bee shamaness as well as a bee guardian, she has the unique perspective of having one foot in our three-dimensional scientific reality with the other dancing in the spiritual realms.CONNECT WITH LIZ HERE: https://linktr.ee/thesecrethealer
rWotD Episode 3071: Landscape painting Welcome to random Wiki of the Day, your journey through Wikipedia's vast and varied content, one random article at a time.The random article for Tuesday, 30 September 2025, is Landscape painting.Landscape painting, also known as landscape art, is the depiction in painting of natural scenery such as mountains, valleys, rivers, trees, and forests, especially where the main subject is a wide view—with its elements arranged into a coherent composition. In other works, landscape backgrounds for figures can still form an important part of the work. Sky is almost always included in the view, and weather is often an element of the composition. Detailed landscapes as a distinct subject are not found in all artistic traditions, and develop when there is already a sophisticated tradition of representing other subjects.Two main traditions spring from Western painting and Chinese art, going back well over a thousand years in both cases. The recognition of a spiritual element in landscape art is present from its beginnings in East Asian art, drawing on Daoism and other philosophical traditions, but in the West only becomes explicit with Romanticism.Landscape views in art may be entirely imaginary, or copied from reality with varying degrees of accuracy. If the primary purpose of a picture is to depict an actual, specific place, especially including buildings prominently, it is called a topographical view. Such views, extremely common as prints in the West, are often seen as inferior to fine art landscapes, although the distinction is not always meaningful; similar prejudices existed in Chinese art, where literati painting usually depicted imaginary views, while professional artists painted real views.The word "landscape" entered the modern English language as landskip (variously spelt), an anglicization of the Dutch landschap, around the start of the 17th century, purely as a term for works of art, with its first use as a word for a painting in 1598. Within a few decades it was used to describe vistas in poetry, and eventually as a term for real views. However, the cognate term landscaef or landskipe for a cleared patch of land had existed in Old English, though it is not recorded from Middle English.This recording reflects the Wikipedia text as of 00:55 UTC on Tuesday, 30 September 2025.For the full current version of the article, see Landscape painting on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Bluesky at @wikioftheday.com.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Ayanda.
Bright on Buddhism - Feed Drop - Nihonshi, A Japanese History Podcast - Genpei War: Part 1Join me as I drop an episode of my forthcoming 2nd podcast, Nihonshi, a Japanese History Podcast. On this show, we will be discussing topics in Japanese history and diving deep into their circumstances, their context, and their significance. We will talk about who the major players were, what their agendas were, and why they did what they did. Hopefully, by the end of each episode, you will have a better understanding and appreciation of Japanese history, but also East Asian history in general. I hope you enjoy. https://linktr.ee/nihonshipodcasthttps://wck.org/relief/chefs-for-gazaDo you have a question about Buddhism that you'd like us to discuss? Let us know by emailing us at Bright.On.Buddhism@gmail.com.Credits:Nick Bright: Script, Cover Art, Music, Voice of Hearer, Co-HostProven Paradox: Editing, mixing and mastering, social media, Voice of Hermit, Co-Host
In this special episode, contemporary artists Hoa Dung Clerget and Duong Thuy Nguyen, and gallerist Sarah Le Quang Sang, join EMPIRE LINES live, exploring the legacies of French and British colonialism in East Asia, fifty years since the end of the Vietnam War, through the series, If They Survive, They are Refugees (2024).Marking 50 years since the end of the Vietnam War, Only Your Name (2025) is a group exhibition featuring works by artists of Vietnamese descent: Hoa Dung Clerget, Vicky Đỗ, and Duong Thuy Nguyen. The exhibition follows the journey of Vietnamese people migrating to the UK from 1975 onwards, preserving history through a Vietnamese lens and reflecting on the contemporary diaspora.In this special episode, recorded live at SLQS Gallery in London, gallerist Sarah Le Quang Song discusses the particular location of the exhibition, close to Hackney's Kingsland Road, also known as the ‘Pho Mile', where many Vietnamese families settled from the late 1970s. We discuss the title, which draws from On Earth We're Briefly Gorgeous (2019), a novel by Ocean Vuong, written in the form of a letter from a Vietnamese American son to his illiterate mother.Duong Thuy Nguyen describes the process of making their embossed aluminium and wax sculptures, which reinterpret Joan Wakelin's photographs of Vietnamese refugees held in Hong Kong detention centres and refugee camps, now held in the collections of the V&A in London. Hoa Dung Clerget presents installations and sculptural works that consider the labour and lives of immigrant women through Nail Art subculture, distorting stereotypical and fetishised portrayals of Asian women. Drawing on their work, Chinoiserie (2025), Hoa shares examples of orientalism in East Asian art and education systems. Plus, we discuss Vicky Đỗ's documentary films, revisiting the history of Vietnamese refugees arriving in Hong Kong.This episode was recorded live as part of the public programme for Only Your Name, an exhibition at SLQS Gallery in London, in July 2025.For more information, visit: instagram.com/p/DLhGFqCIhNA/Womb of Fire 2025, curated by Tuong Linh, opens in Hanoi in October 2025, and tours to Ho Chi Minh City until January 2026.Interspecies Entanglements, curated by Florence Fitzgerald-Allsopp, is at the SLQS Screening Room online until February 2026. Damaris Athene is at SLQS Gallery in London from 10 October 2025.PRODUCER: Jelena Sofronijevic.Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcastSupport EMPIRE LINES on Patreon: patreon.com/empirelines
Some things can't be seen—only felt. The texture of presence, the quiet shifts in atmosphere, the way the body speaks before words arrive. In the clinic, it's not always the protocols or point prescriptions that lead the way, but something quieter. Something more fluid.In this conversation with Felix de Haas, we meander through the tactile world of East Asian medicine—through pulse, palpation, and the subtle feedback that unfolds when you listen with your hands. Felix shares how Chinese medicine didn't just appear in his life—it found him. And how the most meaningful parts of practice often live in the places we're still learning to trust.Listen into this discussion as we explore the idea of 通 tong as communication and opening, the felt shape of qi, why protocols eventually fall away, and how clinical insight often begins with not knowing.Felix brings a lifetime of experience, sense of history, and a willingness to stay curious. This conversation is for anyone who's ever wondered if the body might be whispering more than we're used to hearing.
Asians and Asian Americans are numerous within the classical music industry, but their identities are often politicized and racialized in this Eurocentric musical genre. For the third episode of Obbligato on APEX Express, Isabel Li discusses this intersection with Mari Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music (2007) and Dearest Lenny: Letters from Japan and the Making of the World Maestro (2019). Tonight's episode features music by Chinese American composer Zhou Tian. To learn more about Mari and her work, please visit her website: https://www.mariyoshihara.com/index.html Musicians from a Different Shore: https://tupress.temple.edu/books/musicians-from-a-different-shore-2 Dearest Lenny: https://global.oup.com/academic/product/dearest-lenny-9780190465780?cc=jp&lang=en& 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. 00:00:53 Isabel Li Good evening. You're listening to KPFA 94.1 FM. My name is Isabel Li and I'm delighted to be hosting a new edition of Obbligato on Apex Express, which is a semimonthly segment specifically about AAPI identities in classical music. Tonight's guest is someone I have been incredibly excited to speak to because her writings have actually very much informed my studies and research. In fact, her books are exactly about the subject matter of Obbligato. I am honored to be speaking to Mario Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music, published in 2007, and Dearest Lenny: Letters from Japan and the Making of the World Maestro, which was published in 2019. Welcome to Obbligato on Apex Express. Mari, how are you doing? 00:01:55 Mari Yoshihara I'm doing fine. Thank you for having me. 00:01:58 Isabel Li Of course, my first question for you is how do you identify and what communities are you a part of? 00:02:06 Mari Yoshihara Oh well, that's actually a little bit complicated I am. I am a Japanese woman who have spent a little bit over well, maybe not more than a little more than half of my life in the United States. Born in New York but raised in Tokyo, educated mostly in Japan, but also earned my graduate degrees in the United States and most of my academic career has been in Hawaii, so I've been in American academia for almost 30 years now, but I also have a dual appointment with the University of Tokyo in Japan. So I split my time between Japan and Hawaii now. 00:02:54 Isabel Li Can you tell us a little bit about your work and your books? I had a chance to read Musicians from a Different Shore, but how would you summarize your research to someone who might not have read your book? 00:03:04 Mari Yoshihara So I am a scholar of American studies, which is an interdisciplinary field that has anything to do with America broadly defined. And within that, my area of expertise is about, well, I would say I'm a scholar of US cultural history. US Asian relations, mostly US, East Asian relations, especially in the cultural dimension, cultural studies, gender studies, Asian American studies, etc. And so I have written a number of books, both in English and Japanese, but the one that you're referring to, Musicians from a Different Shore, is a book that I did research for more than 20 years ago and was published in 2007. It's a study of Asians and Asian Americans and classical music. So it was partly historical in that I examined the ways. which Western music, so-called western classical music, was introduced to East Asia and how also East Asians became have become so successful and prominent in this field that is generally considered a white European elite art form, so it was partly historical, but then the rest of the book was based on my ethnographic field work and interviews among Asians and Asian Americans in classical music looking at how well who these people are in the first place and then also how musicians, Asian and Asian musicians themselves, understand the relationship between their racial and cultural identity on the one hand, and their practice of Western classical music on the other, so that was my study. And then I also wrote another book called Dearest Lenny. It's about—the subtitle is Letters from Japan and the Making of the World Maestro. It's about Leonard Bernstein's relationship with two very special individuals in Japan. And through that story, I interweave an account of various things. For one thing, how Leonard Bernstein became a world maestro and also the relationship between politics and arts, gender, sexuality, art and commerce, etcetera, etcetera. So that was my most recent book published in English and then, I'm sure we'll talk more about this, but I'm currently doing a follow up research on the on Musicians from a Different Shore, taking into account all the changes that have been taking place in the classical music industry in the United States in the past, I would say five years or so especially so that's my that's the abbreviated version of my research. 00:05:55 Isabel Li That's really cool, and I also want to ask you about these changes, if you can talk a little bit about the classical music world. I feel like classical music is one of those genres that seems to be unchanging on the outside. But as a scholar of classical music, what types of changes have you observed that has influenced how AAPI identities play into this world? 00:06:18 Mari Yoshihara Yeah, I think especially in the last, I would say, yeah, 5 to 10 years, especially in the last five years, classical music industry in the United, I mean I say specifically in the United States because I don't see the similar kind of changes taking place in Japan where I'm currently located. And I also don't really know the situation in Europe. But the field of classical music in the US is changing. I think most significantly because of movements like the Black Lives Matter movement and also with the onset of COVID and the rise of anti Asian hate, there's been a lot more heightened awareness about how issues of race and also class shapes classical music. So there's a lot more vibrant conversations and debates about these topics in the industry and also in terms of AAPI community, are the biggest changes, the biggest change I'm seeing is that Asian and Asian American musicians themselves are being a lot more vocal and active in issues of race and racism in the field and there I've encountered many Asian and Asian American musicians who have, for instance, you know organized events or organizations, or taken up various forms of advocacy and activism on these issues. So compared to, say, 20 years ago, 20, 25 years ago, when I was doing the original research, I see a lot more kind of, you know, explicit awareness and awareness and articulation of these issues by Asian and Asian American musicians themselves. 00:08:12 Isabel Li That's really interesting. Just because classical music is also one of those genres, that doesn't seem like a genre that most people explicitly associate with politics or activism. What are some examples of these, like activist movements that you've observed within the Asian American community in classical music? 00:08:32 Mari Yoshihara So for instance, some Asian and Asian American musicians are are becoming a lot more vocal about the actual like racism or sexism that they have themselves experienced, or that they witness in the industry, like in in schools, conservatories, orchestras, opera companies, etc. Either through the media or you know their own writing, and also like speaking up within the organizations that they work in. So that's one. There are other kinds of advocacy and activism in that they demand more diverse repertoire, and I think the repertoire is in terms of the industry industry changes. That's the area that's changing the most, the the kind of repertoire that many orchestras for instance perform have become a lot more– I mean overall it's still very white, European centered– but in terms of the actual numbers of pieces that are performed, works by living, composers and composers of color, women composers, etcetera. That is significantly increased in the last 10 years and that is, you know significantly to do with the advocacy and activism on the part of, you know, artists of color. So yeah, so things like that and then, you know, many Asian, Asian American artists are doing their own programming, for instance, like event organizing programming. So yeah, those are the areas that I see changes. I see things happening that I didn't see 25 years ago. 00:10:20 Isabel Li Definitely. I remember reading your book, and your book has been published since 2007, so a lot of changes have happened since then. But in general, when you did your research at first, what how would you summarize the dynamic of Asian identities, Asian American identities in this very Eurocentric field, it's a juxtaposition of two different cultures and identities that a lot of people also observe in orchestras. There's a large population of Asian and Asian American musicians, conductors just in general. It's a very large population, but yet this identity is still not quite represented in media. It's not quite seen, so talk to us a bit about this juxtaposition and how you observe these dynamics in your research. 00:11:10 Mari Yoshihara Yeah. So. The thing is, Asians and Asian Americans are indeed numerically overrepresented in classical music, in the sense that compared to the general public, the the the proportion of Asians and Asian Americans in the overall US population, the number of Asian and Asian Americans in classical music indexed by things like the student body at major conservatories or membership roster of US orchestras, etcetera, Asians and Asian Americans percentage is higher than the general population, right. So in terms of the numbers, Asians and Asian Americans are, quote unquote overrepresented. But those numbers are not reflected in the actual like voice, power and influence that they have in the industry. So that was my finding back 2025 years ago and I think that's still true today. Also, the thing about Asian, Asian American musicians is that it's a racialized category. They are seeing and treated as Asian. It's this racial category. But their identities and experiences as Asians is not at all uniform, right? Some of these Asian musicians are Asian Americans, like multi generational Asian Americans whose parents or grandparents or great grandparents etcetera have come to the United States and they themselves are U.S. citizens. So that's one group. Many Asian musicians working in the United States are people who were born and raised in Asia, places like China or South Korea, Japan, etcetera, and came to the United States as international students to study music, often at the college level, college conservatory level, so obviously these people have very different sense of identity and experience as Asians compared to say, you know 3rd, 4th generation Chinese Americans or 1.5 Korean Americans. There are other people who live in the United States because they were very talented, very young musicians, and the whole whole family immigrated to the United States specifically for their music education. So Midori, the famous violinist, Midori is a case, example of this, but there are also a number of other, especially among Koreans and Chinese. There are families, the whole family immigrated to the United States when the child was a very promising musician at age 7 or something. So that's one group. They too have a different sense of identity and experience of Asians than the two former groups that I that I talked about. There are other people who also came to the United States because not because of the music education, but because of their parents' profession, for instance. And they have transnational kind of family ties and you know, they move, they go back and forth between US and Asia, for instance. And then there are also mixed roots families where one parent is Asian and the other is non Asian. And then there are also Asians who were born and raised in Europe for other parts of the globe and then came to the United States, for either personal or professional reasons. So in other words, they're all Asians in terms of their racial identity. But what that means is really quite diverse and their experience as Asian and Asian American musicians is also quite diverse. So it's not as if you know, just because they're Asian, they share some kind of experience and identities around which they coalesce. So that's, you know, that was true 20, 25 years ago. And I think that's still true today. More and more Asian musicians are coming to the United States to study, study or work in classical music, but especially because of this, like new influence, this Asian category is becoming even more diverse. However, because of the COVID, you know the rise of Anti Asian hate during the COVID pandemic, I think that heightened the awareness of, you know, these different kinds of Asians, the heightened awareness that they are Asians. First and foremost, you know, in, in that in the sense of being racialized in the United States. So I have talked with a number of musicians, Asians and Asian American musicians, who did not really, hadn't thought about their Asianness before. It wasn't at the forefront of their identity before, but during this rise of anti Asian hate it they became they basically became more politicized. You know, they had quite a politicized language and awareness to think about race and racism especially against Asians and Asian Americans. 00:16:31 Isabel Li Yeah, that's a great point. It is a such a diverse group and there are so many different identities, even within just the Asian American framework AAPI, as a label is very, very diverse. And that applies to classical music as well. But I think there's also this social perception of Asian and Asian Americans as a group that also relates to the model minority stereotype that's historically been present and, for example, a lot of people might think of, like a young Asian or Asian American musician as being like a prodigy because they are technically skilled at their instrument, where like these social perceptions that exist both in media and in the culture around us, why do you think that is? 00:17:15 Mari Yoshihara Well, that as you said, there is a model minority myth and there is a stereotype of Asians and Asian Americans as being very studious and diligent, but also quiet, right? I mean, they just quietly follow, like, obedient, obediently follow the instructions and that translates in the field of music as the stereotype that Asian musicians are technically very proficient but artistically non expressive. I mean, that's a very common stereotype that yeah, you know, practically any Asian, Asian Americans in classical music have been subjected to, you know, quite regularly and frequently. And I think that, yeah, that just comes with the overall kind of racial stereotype of Asians and Asians and Asian Americans in American society at large. And also the fact that, you know, classical music, especially in terms of instrumental performance, it is an area that is, it's something that is, indeed, technically very demanding, right? You need many, many years of disciplined training and a lot of practice. And there is a myth of merit– well, no, not entirely a myth– but there is this this very, you know, dearly held faith in meritocracy in classical music. The idea that if you have the chops you will be rewarded, you will be recognized and you know, no matter what kind of great artistic idea you might have, if you can't play the notes, you can't play the notes. That kind of ethos of meritocracy is particularly strong in classical music because of the technical demands of the genre, and that and that kind of, you know, goes hand in hand with the model minority methods for Asian Americans. 00:19:20 Isabel Li Definitely. That's really interesting and another part of your book that was quite fascinating to me when I first read it was chapter 3. You talked about the intersection of gender as well as, you know, racial identity in classical music. The chapter is called Playing Gender and you talk about, I think at large don't necessarily associate classical music with a discipline that provides a stable job. It is an art form and there is kind of an uphill battle for artists in a sense like a starving artist myth there. We're not even a myth. Like if there's a starving artist image, whereas the image of a very successful classical musician there's this duality that you also mentioned in one of your other chapters about class. So what really interested me in for this chapter was that there was this intersection of power in classical music of who would go down the path that might not be traditionally as successful. How do you think gender dynamics play into this and how do you think they might have shifted within the last two decades or so? 00:20:20 Mari Yoshihara Huh. I'm not sure if it has shifted all that much in the last two decades, but as you said, because music I mean, not just classical music, but music. Like, you know, arts in general is a field that is very like economically insecure in terms of career, right? But at the same time. Classical music is associated with kind of, you know, bourgeois identity and just kind of overall cultivation and so, many Asian, Asian American parents are very eager to send their kids to, say, piano lessons, violin lessons, cello lessons, etcetera. To, you know, give them a well-rounded education and also because it is considered useful tool, you know, when you're going to college and stuff like, you know being, you know, being able to show that you're very talented violinist, for instance, is believed to help your college application. So there's this, you know, both stereotype and reality that like, you know, places like Julliard Pre-College, very competitive, you know, school, like music education program for kids is filled with Asian, Asian American, you know, students and their parents who are waiting, waiting for them to come out of school. So there's that. But how gender plays into this is that while both men and women are do study music at a young age. When it comes to, you know, choosing say, college, like what they would, what they would pursue at the college level, far fewer male students tend to choose music as their college major or go to conservatory and pursue it as a as a career. But I think it's both their own choice. And also especially for Asian and Asian Americans, like parental pressure to not pursue music professionally because of, you know, financial insecurity. So there's that, and also how that plays into the actual experiences of Asian, Asian Americans musicians who do study music is that I have heard from a number of female Asian musicians that either their peers or especially their teachers are doubtful that they are actually serious about music. There is a stereotype that, you know, say for instance, Japanese or Korean female students at Juilliard School, Manhattan School or whatever, they are there because they, you know, they want to study music and then find a good husband and marry, you know, a lawyer or doctor or engineer or something. [laughs] And and not that that doesn't happen. But that's a stereotype of, you know, that's a racialized and gender stereotype that comes from these, you know, gender and class and racialized dynamics. 00:23:35 Isabel Li And just for clarification, is the classical music world at large still a male dominated field? 00:23:41 Mari Yoshihara Yes. Oh yes. Definitely. I mean, it depends on the segment of you know, I mean classical music is itself quite diverse. So if you look at, for instance, the string section, especially the violin section of the New York Philharmonic for instance, you will find that like, I think the majority of those violin players are Asian women, perhaps. But if you look at say for instance, the Faculty of Conservatories or music directors and major orchestras and said, I mean still very male dominated. 00:24:23 Isabel Li Yeah. Yeah, definitely. I like how your book also has so many different layers for each chapter. So Chapter 3 was about the gender intersection with this, with this identity, and Chapter 4, was it Chapter 4, I believe it was about class, Class Notes, and you've already mentioned a little bit about how class plays into the perception of music, how class influences gender even. But there's a statement in there that you said that, “it's misleading to characterize Asian musicians as just coming from the upper middle class.” And it makes sense that people would think of musicians coming from this economic bracket, because classical music is an in and of itself a very kind of expensive undertaking. You need so many lessons, so many instruments. But tell us why this statement would be misleading. 00:25:15 Mari Yoshihara Because I mean, first of all, most of the overwhelmed, I would say overwhelming majority of the Asian, Asian American musicians that I interviewed come from middle class backgrounds, many of them from so-called like professional executive class backgrounds in, meaning that their parents hold these professional executive positions, right. And that's why they were able to afford advanced musical studies from a fairly young age. They need, you know, sustained and disciplined and often costly, you know, lessons, you know, competitions, etcetera, auditions, travel, etcetera. So that's for sure, yeah. At the same time, there are also Asian musicians who come from less privileged backgrounds, you know, immigrant families who have, because quite a few. I mean overall Asian American population, many immigrants experience downward social mobility upon immigrating to the United States because of, you know, oftentimes linguistic barriers or you know, or plain old racism. And so you're not Asian families that immigrate to the United States, like, for instance, if the parents have professional positions back in South Korea, oftentimes they become, you know, for instance, you know, small business owners and they experience downward social mobility. I mean, that's a very common scenario. Yeah, so now all Asian, Asian American musicians grow up in a privileged environment. 00:27:06 Isabel Li Definitely a great point. Now before we move on to some discussions about Mari's research. First of all, thank you for tuning in to Obbligato on APEX Express, we'll be taking a short music break and as mentioned earlier, a great way to increase diversity within classical music is to uplift works by living composers. If you're listening to my first. 00:27:26 Isabel Li Episode 2 months ago, you'll know that I featured music by Chinese American composer Zhou Tian. I'm happy to say that coming up next is one of Zhou's compositions inspired by a trip to Italy. This is a piece called Hidden Grace performed by the Formosa Trio. 27:45 – COMP MUSIC – Hidden Grace 00:35:34 Isabel Li That was a piece called Hidden Grace, composed by Zhou Tian for a fascinating instrumentation of flute, Viola and heart coming up for our second piece. In this interview, break another movement by Zhou Tian, the third movement of his double concerto for violin and Viola, called Rendezvous. 35:58 – COMP MUSIC – Double Concerto for Violin and Viola, III. Rendezvous 00:41:09 Isabel Li Noah Bendix-Balgley on violin, Shanshan Yao on viola, and the Hangzhou Philharmonic, playing the third and final movement of Zhou Tian's Double Concerto for violin and viola. So back to the conversation with Professor Mari Yoshihara. 00:41:25 Isabel Li As you also mentioned before, you're working on an updated version of Musicians from a Different Shore. Can you talk–I don't know how much you can talk about your, like upcoming projects, but are you using similar research methods to what you've done before using ethnographic field work? You've mentioned the new changing dynamics of classical music in the United States with new waves of activism and awareness. What are some new topics of your chapters that you might focus on? So for your 2007 publication, you talked about your gender and class and how these intersect with identity. Are there any new things that you're drawing upon here? 00:42:02 Mari Yoshihara Yeah. So I'm using basically the same research method. I'm interviewing actually some of the same people that appeared in Musicians from a Different Shore. Some people kept in touch with over the years, I've gone back to them and interviewed them to see the trajectories of their careers since the first time I interviewed them. But then I've also interviewed a bunch of other, you know, new musicians that I'm speaking with for the first time. So it's essentially an interview and ethnographic fieldwork-based research. I told you earlier about I think one of the biggest changes is, as I said before, the activism and advocacy on the part of Asian, Asian American musicians themselves. So I have one chapter about that. Like, what? How? What kinds of advocacy and activism they're engaged in. Another big change that I'm seeing is that compared to 20 years ago, there are a lot more Asian musicians in the field of opera. 00:43:01 Isabel Li Ohh yeah. 00:43:02 Mari Yoshihara Uh. Both as singers. Yeah, many of them singers, but also in other, you know, like for instance opera, you know, pianist for opera or be opera directors, et cetera. There are many more Asians in this particular field than what I saw 20 years ago. And I talked about this a little bit in my first book, but opera is a very particular kind of field within classical music. How race plays into opera is very different from other areas of classical music because it's a theatrical art form. It's visually oriented, you know art form. And because singers have to be cast in order to, you know, sing on stage. So the racial politics in opera, you know, unfolds very differently from, say, for pianists or cellists or conductors or or composers. So I now have a whole chapter about opera, especially Madame Butterfly, that this very fraught work, you know, opera that many Asian and Asian Americans have love hate relationships. A lot of pigeon-holing that happens in that through that opera. But also, production of new opera by Asian and Asian American artists, composers, directors, singers, etcetera. So I have a whole chapter about that. And then I also will have another chapter about, you know, what it means to, you know, sit at the table, basically. Like stand on the podium and sit at the table, stand on the podium. Not only, I mean I will, I will have a whole discussion about Asian and Asian Americans conductors, but not only in that literal sense of, you know, standing at the podium, but like being at the table like in other words, not only, Asian and Asian American musicians playing music that are given to them and they are assigned to them that they're hired to play, but also having a real voice in the organizational and institutional dimensions of classical music industry. So the kinds of people, Asians, who are in these positions more executive positions with decision making power what their experiences are like. I'm going to have a chapter about that. So those are some of my ideas. I'm still in the middle of the project, so I can't. I can't see the whole picture, but those are some of my current ideas. 00:45:48 Isabel Li I see. And do you have an idea of when this book will be published or an updated version? 00:45:54 Mari Yoshihara Well [laughs], my goal rather ambitious goal is to have it published in 2027, because that would be 20 years since Musicians from a Different Shore, so that would be ideal if I can make that. 00:46:08 Isabel Li Well, yeah. Nice. That's really exciting, definitely. I will also kind of bridge, I guess my part of the research into this part of the interview, since I'd love to talk to you a little bit more about how classical music in general is portrayed in media. So as I've introduced myself before, I had a back, I have a background in media studies as well as music history and theory. And what was really interesting to me in my senior thesis while I was doing research for that was I coined this term and it could just be loosely associated with the genre of film. But it's the “classical music film.” So think of any narrative fictional film you can think of with a classical musician in there. So it could be like Amadeus, where I think of like Tár. If you watch Tár like a lot of these depictions are quite understandably white and European, but they my senior thesis I've never really seen any depictions of Asian American or Asian classical musicians? I was wondering if you have ever watched a film like that, or could maybe talk a bit about maybe the lack of representation in media, how media plays into how people perceive classical music as a genre as a whole. 00:47:23 Mari Yoshihara That is a very interesting question. I think you know, because of the stereotype of Asian and Asian American model minority and model minority stereotype often is associated with, you know, violin or piano-playing Asian American kids, I think. Asian, Asian American characters who are, you know, these kind of musical classical music geniuses appear here and there. But the ones that center on such a character as the main, you know, like the protagonist, come to think of it, I'm not sure if I've seen. I mean, I've seen several Korean dramas, you know, character, but those are Korean dramas, not Asian American, so more American works with Asian classical musicians… 00:48:21 Isabel Li And I think also classical music as a genre is. It's interesting because classical music is also kind of underrepresented. It's not quite in the mainstream. And then one of my final questions for you is I do also want to take a second to acknowledge that your book was actually one of the only books that I could find about this topic. I think there are not that many other books about Asian and Asian Americans in classical music. I think there are a few other books and a few and definitely some papers that talk about this, but what got you interested in this field? And I don't know if you think there's a scarcity of information, but do you think there's relative scarcity of information about this topic? 00:49:01 Mari Yoshihara Yeah. So how I got into it is. So I was a pretty serious student of piano when I was a child. That's like, yeah, that really kind of preoccupied my childhood and adolescence. But then I, for various reasons I ended up not going to a music Conservatory and became an academic. And then once I entered academia and became a scholar of American studies, all I was studying was like race, gender, class. I mean, that's what we do in American studies. And my first book, which was originally my doctoral dissertation, was a cultural history of orientalism and white women. So that was a study of the intersections of race and gender and to some extent class in American history. So once I finished that book, I was thinking about what projects to work on next. And I happened to turn on the TV, and it just so happens that the Vienna Phil New Year's concert, conducted by Seiji Ozawa was playing on the TV and that was sort of my “aha” moment because I had always known or, you know, kind of generally aware that Asians and Asian Americans are, if not necessarily overrepresented, but, you know, they're quite numerous, you know. They're present. Their numerical presence is quite notable in classical music that is often associated with white, you know, European culture, elite culture. So I was kind of curious about that phenomenon, but I hadn't really thought too much about it until I watched Seiji Ozawa were conducting the Vienna Phil. And that's when I thought, well, maybe I can kind of combine my classical music background and my academic training in studies of race, gender, class into this project. So that's when I decided to work on. You know, this topic of Asians and Asian Americans, classical music. I think the reason that there hadn't been at least a book-length study on the topic until my book is that for one thing, classical music is considered to be kind of a very abstract absolute form of music. This ethos that it is kind of transcends– that it is a universal, transcendental kind of genre, that is sort of above things like politics or race or gender. Like it shouldn't matter that these, you know, individual identity, racialized gender identity shouldn't matter vis-à-vis the universalism of classical music. I mean that kind of ethos is very strong in this particular genre of music. I think that has a lot to do with it. And also the study of classical music until rather recently, like musicological study of classical music, really tended to be focused on the study of composers and their works, right? It was the textual that, like it, was an analysis of Beethoven Symphony or, you know, Bach Fugues, etcetera. Yeah. It was really focused on the study of the score, the study of the composer's ideas, as reflected in the score, I mean that was the centerpiece of musicological approach to classical music. And so sort of more sociological anthropological study of the musical practice is a relatively new approach in in the field of musicology. I'm not a musicologist. So that's not how I'm trained. But I think the academic approach to classical music was not very, kind of, open to the kinds of topics that I raised in Musicians from a Different Shore. 00:53:12 Isabel Li Definitely. I see. And my very final fun question for you is can you name three of your favorite classical music pieces for any recommendations you have for the audience who might be listening, who might be wondering what they will listen to next? 00:53:27 Mari Yoshihara Well, OK well. Pieces well, because I wrote a book about Leonard Bernstein. I mean, I ended up– I wrote a book about Leonard Bernstein. Not necessarily because I was an avid fan of Bernstein. It just kind of happened this this project. But nonetheless of while I was doing research and writing the book I did listen to a lot of Bernstein. I and I have come to really love Bernstein music and so. And you know, of course, everybody knows West Side Story, but he actually wrote many other pieces that may not be as well known. Well among the pieces that I like, I like…which one should I choose? I will choose. Ohh well, I'll choose a piece that I learned myself as a pianist. I learned the piece called “Touches” that he wrote. It was a commission piece for the Van Cliburn International Piano Competition, and it's kind of yeah, it's a chorale and variation. So that's very interesting and very interesting and very Bernstein-esque so well. I'll OK, as an American study scholar. I'll, I'll stick with American pieces. I like someone Barber a lot. I like Barber “Excursions,” which I also learned to play. 00:55:04 Isabel Li Yeah. 00:55:09 Isabel Li Tough question. 00:55:11 Mari Yoshihara Umm, Mason Bates piece that I also learned, “White Lies For Lomax.” This one was also, I believe…was it commissioned by the Cliburn? But no, maybe it wasn't. Yeah, I think it was commissioned. But anyway, I played it at the Van Cliburn International– the amateur competition of the Cliburn competition. I did all these. So like Bernstein, Bates, Amy Beach piece I also played. Yeah, I'll stop there. I I wish you had prepped me for that then [laughs]– 00:55:42 Isabel Li Oh my gosh. Great responses. 00:55:46 Mari Yoshihara Hard to think on the spot. 00:55:47 Isabel Li Yeah, I totally get that. Whenever people ask me for my favorite composer, I never have an answer. No, so I totally get it. Well, thank you so much for your time, Mari. And thank you for your wonderful insights. I'll put the link to your books so that people can learn about your works on APEX Express on kpfa.org. So thank you so much for your time, Mari. 00:56:07 Mari Yoshihara Thank you. 00:56:09 Isabel Li As mentioned, please check our website kpfa.org to find out more about Mari Yoshihara, her scholarship, and links to two of her books. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world. Your voices are important. 00:56:31 Isabel Li APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA for their support. Have a great night. [OUTRO MUSIC] The post APEX Express – 09.04.2025 – Obbligato with Mari Yoshihara appeared first on KPFA.
We're dipping into the world of streaming and East Asian cultural dominance today, talking about Netflix's smash hit movie K-Pop Demon Hunters. We talk about the pandemic era deal struck between Sony and Netflix, what this means for the streaming landscape, and whether it would have been as much of a cultural phenomenon if it was a traditional cinematic release.See omnystudio.com/listener for privacy information.
In a special crossover episode with CSIS's State of Play, Max Bergmann joins Will Todman and Victor Cha to discuss what East Asian and European allies are learning about summits with President Trump and what patterns are emerging about how President Trump engages with autocrats.Learn more:State of Play | CSIS PodcastsStatesmen's Forum: His Excellency Lee Jae Myung, President of the Republic of Korea | CSISMax and Maria on the Alaska and White House Peace Summits | CSIS Russian Roulette
This episode is a special crossover with our CSIS sister podcast, State of Play. After a busy month of U.S. diplomacy, Victor Cha and Max Bergmann join Will to discuss what East Asian and European allies are learning about summits with President Trump and what patterns are emerging about how President Trump engages with autocrats. "Statesmen's Forum: His Excellency Lee Jae Myung, President of the Republic of Korea" CSIS, August 25, 2025. "Max and Maria on the Alaska and White House Peace Summits" Russian Roulette, CSIS, August 21, 2025. Listen to CSIS Podcast State of Play at https://www.csis.org/podcasts/state-play
Insulin resistance triggers everything from Alzheimer's to erectile dysfunction. Dr. Benjamin Bikman examines the metabolic crisis shared by 50% of America.Full show notes and resources can be found here: jordanharbinger.com/1201What We Discuss with Dr. Benjamin Bikman:Half of US adults have insulin resistance without knowing it. It's the upstream driver of most chronic diseases — from high blood pressure to erectile dysfunction to Alzheimer's — not just diabetes.Medical focus on blood glucose misses the real problem. Insulin levels are rarely tested, yet elevated insulin drives disease years before blood sugar becomes abnormal.Fat cell size matters more than total fat. East Asians develop insulin resistance with less weight gain because they have fewer, larger fat cells versus more, smaller ones in Europeans.Insulin resistance causes brain starvation. When neurons can't access glucose due to insulin resistance, cognition declines — which is why some in the medical community refer to Alzheimer's as "type 3 diabetes."Type 2 diabetes is reversible through carb restriction. In one study, 11 newly diagnosed patients reversed their diabetes in 90 days by eating unlimited protein and fat, just limiting carbs.And much more...And if you're still game to support us, please leave a review here — even one sentence helps! Sign up for Six-Minute Networking — our free networking and relationship development mini course — at jordanharbinger.com/course!Subscribe to our once-a-week Wee Bit Wiser newsletter today and start filling your Wednesdays with wisdom!Do you even Reddit, bro? Join us at r/JordanHarbinger!This Episode Is Brought To You By Our Fine Sponsors:Cayman Jack: Explore uncharted flavor: caymanjack.comFactor: 50% off first box: factormeals.com/jordan50off, code JORDAN50OFFWayfair: Start renovating: wayfair.comHomes.com: Find your home: homes.comProgressive Insurance: Free online quote: progressive.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Jet Tila is known as a TV chef these days, thanks to his many appearances on the Food Network and elsewhere, but he has actually been working in the restaurant industry for pretty much his whole life. Having grown up working in his parents' Thai restaurants in Los Angeles, he then attended culinary school and went on to cook at a wide variety of foodservice operations, including Compass Group subsidiary Bon Appétit Management and at Steve Wynn properties in Las Vegas. He also operates five Dragon Tiger Noodle restaurants—four in Nevada and one at the Dragon Tiger Casino in Central City, Colorado—and is the research & development chef of fast-casual Pei Wei Asian Kitchen, with some 120 restaurants across the country. Tila was a keynote speaker at US Foods' recent Food Fanatics conference in Las Vegas, where he walked the 5,000 attendees through his own humble beginnings and ultimately his success as a TV personality and cookbook author as well as a chef and restaurateur. He also performed cooking demonstrations at the conference, including one for birria fried rice. One of his passions these days is Chino-Latino cooking, exploring the ways that East Asian and Latin American flavors go together. During these stressful times people are turning to comfort food, he believes, whether that's fried chicken sandwiches, noodles or Tila's particular passion, fried rice. He discussed his own passion for “grandma cooking,” and shared his perspective on where food is going these days.
This episode looks at the courtroom drama that helped to shape Asia after World War II with Princeton University's Gary Bass. Far more than a simple account of justice served, the Tokyo War Crimes Tribunal represents a fascinating intersection of international law, power politics, and competing visions of history that continues to reverberate through East Asian relations today.The tribunal tried 28 Japanese leaders for crimes that began long before Pearl Harbor. Imperial Japan's expansionist wars stretched back decades, leaving a trail of atrocities including the Nanjing Massacre where approximately 200,000 civilians were killed. Yet political calculations ensured Emperor Hirohito remained untouched, creating an enduring contradiction where his closest advisor received a life sentence while the monarch himself watched from his palace.Three defendants embody the trial's moral complexities: defiant Prime Minister Tojo Hideki who used his testimony to justify the war; the Emperor's advisor Kido Koichi who claimed to restrain militarists yet enabled their actions; and perhaps most poignantly, Foreign Minister Togo Shigenori who actively opposed the war, confronted military leadership, and later pushed for surrender—only to die in prison after conviction.What truly distinguishes this tribunal from Nuremberg is its contested legacy. While Germany embraced denazification, some Japanese war criminals later returned triumphantly to politics—including Kishi Nobusuke who became Prime Minister in 1957. His grandson, former Prime Minister Abe Shinzo, continued questioning the tribunal's legitimacy decades later. Meanwhile, at the controversial Yasukuni Shrine, war criminals are venerated alongside fallen soldiers, revealing Japan's unresolved relationship with its imperial past.How do nations reconcile with dark chapters in their past? Can justice truly be served when political considerations shape legal proceedings? You can send a message to the show/feedback by clicking here. The system doesn't let me reply so if you need one please include your email.
Kevin Keller, visiting fellow in East Asian legal studies at Harvard Law School and a fellow in history and policy at the Harvard Kennedy School, joins the Business Scholarship Podcast to discuss his paper “The World Bank, the World Trade Organization, and the Fall of the Global Neoliberal Economic Order.” This episode is hosted by Andrew Jennings, associate professor of law at Emory University, and was edited by Dean Saridakis, a law student at Emory University.
Shaping the Blue Dragon: Maritime China in the Ming and Qing Dynasties (Liverpool UP, 2024) offers a vivid look at China's dynamic and longstanding relationship with the sea. Through the lives of pirates, maritime advisors, cartographers, admirals, writers, and travelers, Ronald C. Po brings maritime China to life — revealing a world far more connected and sea-orientated than often assumed. Richly detailed and captivating, Shaping the Blue Dragon should interest those in Chinese history, East Asian history, and the maritime world. But this is also a book for anyone who loves great stories. Packed with figures from a pirate king ruling the South China Seas to a gentry son-turned-traveler shipwrecked on his voyage to Southeast Asia, Shaping the Blue Dragon is a compelling blend of narrative and analysis. During our conversation we also talked about Po's first book, The Blue Frontier: Maritime Vision and Power in the Qing Empire (Cambridge UP, 2018) (a must-read!). Listeners who want to know more about this book in particular should also check out the episode about the book The Chinese History Podcast Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Shaping the Blue Dragon: Maritime China in the Ming and Qing Dynasties (Liverpool UP, 2024) offers a vivid look at China's dynamic and longstanding relationship with the sea. Through the lives of pirates, maritime advisors, cartographers, admirals, writers, and travelers, Ronald C. Po brings maritime China to life — revealing a world far more connected and sea-orientated than often assumed. Richly detailed and captivating, Shaping the Blue Dragon should interest those in Chinese history, East Asian history, and the maritime world. But this is also a book for anyone who loves great stories. Packed with figures from a pirate king ruling the South China Seas to a gentry son-turned-traveler shipwrecked on his voyage to Southeast Asia, Shaping the Blue Dragon is a compelling blend of narrative and analysis. During our conversation we also talked about Po's first book, The Blue Frontier: Maritime Vision and Power in the Qing Empire (Cambridge UP, 2018) (a must-read!). Listeners who want to know more about this book in particular should also check out the episode about the book The Chinese History Podcast Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies
In this exclusive podcast, world-renowned experts engage in high-level discussion on the nuances of East Asian blepharoplasty, exploring refined techniques, critical anatomical principles, cultural considerations, and their tips on managing epicanthal and aesthetic complications. If you're an ASOPRS Member, Surgeon or Trainee and are interesting in hosting a podcast episode, please submit your idea by visiting: www.asoprs.memberclicks.net/podcast
In the decades since its 1949 revolution, China has emerged – or reemerged – as a global power, and the U.S. government sees China's rise as an existential threat. Now there's a bipartisan consensus, anchored in the Pentagon's strategic doctrine, preparing for war and “great power conflict” with China. Brian Becker talks with Prof. Ken Hammond, who recently returned from teaching in China, about the political, social, and class character of the Chinese socialist project. Dr. Ken Hammond is a professor of East Asian and Global History at New Mexico State University, founding director of the Confucius Institute at New Mexico State University, and a leading organizer with Pivot to Peace.Join the The Socialist Program community at http://www.patreon.com/thesocialistprogram to get exclusive content and help keep this show on the air.
Emerging from collapse of the Han empire, the founders of Northern Wei had come south from the grasslands of Inner Asia to conquer the rich farmlands of the Yellow River plains. Northern Wei was, in fact, the first of the so-called "conquest dynasties" complex states seen repeatedly in East Asian history in which Inner Asian peoples ruled parts of the Chinese world. An innovative contribution to East Asian and Chinese history of the medieval period, Northern Wei (386-534) combines received historical text and archaeological findings to examine the complex interactions between these originally distinct populations, and the way those interactions changed over time. Scott Pearce analyses traditions borrowed and adapted from the long-gone Han dynasty including government and taxation as well as the new cultural elements such as the use of armor for man and horse in the cavalry and the newly-invented stirrup. Further, this book discusses the fundamental change in the dynastic family, as empresses began to play an increasingly important role in the business of government. Though Northern Wei fell in the early sixth century, the nature of the state was thus fundamentally changed, in the Chinese world and East Asia as a whole; it had laid down a foundation from which a century later would emerge the world empire of Tang. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Today Razib talks to repeat guest Steve Hsu about China, a topic with so many currently relevant dimensions gIven the PRC's clear emergence as an economic, military and political rival to the US. Hsu is a Caltech‑trained theoretical physicist who migrated from black holes to big data, co‑invented privacy tech at SafeWeb, helped found the biotech company Genomic Prediction, all while remaining a prominent public voice on genetics, intelligence and the future of human enhancement. He is also a professor of physics at Michigan State, and from 2012-2020 was vice president for research and graduate studies there. Razib and Hsu discuss whether China is innovating and how meanwhile American regulation and culture are stifling its domestic creativity. A proud Iowan, Hsu rebuts the notion that he is pro-China, seeing himself simply as a realist convinced that it is important to face the PRC head on and assess its strengths candidly. He and Razib talk about China's demographic headwinds. Hsu points out the reality of demographic inertia. The generation already born in the 21st century is an abundant young workforce who will power the nation's rise for the next 30-40 years; that disastrously plummeting fertility making headlines today is a concern post-dated for at least a generation down the road. They also discuss the quality of Chinese higher education, and the reality that the population today is far more educated than it was 25 years ago. Hsu also talks about possible cultural and biobehavioral differences between East Asians and Europeans, and addresses why South Asians seem to be better adapted to succeed in American corporate culture.
Jacob interviews Dr. Van Jackson, an international relations scholar specializing in East Asian and Pacific security. They discuss the accelerating pace and volatility of U.S. foreign policy, characterizing Trump-era actions as part of a broader counter-revolutionary, oligarchic project. Van critiques both major U.S. parties and highlights the risk of diversionary wars as legitimacy crises grow. They explore the geopolitics of Iran, Israel, and China, and conclude with insights on North Korea and potential U.S. troop withdrawal from South Korea, outlining a rare “win-win-win” scenario for all parties on the Korean Peninsula.--Timestamps:(00:00) - Introduction(04:52) - Discussion on US Power and Global Politics(08:30) - Middle East Policy and US-Israel Relations(16:30) - Defining Fascism and White Nationalism(23:32) - Trump's Base and Political Dynamics(30:07) - Potential Diversionary Conflicts and Foreign Policy(35:19) - The Inevitability of War with China(35:52) - China's Strategic Interests in Taiwan and the South China Sea(36:49) - The Role of Allies in US-China Relations(38:25) - The Controversy Over Arming Allies(40:57) - Trump's Foreign Policy and Its Impact on Alliances(42:56) - Japan and South Korea's Dilemma(46:42) - The Future of US Hegemony and Global Alliances(51:01) - The Role of the Democratic Party in US Politics(58:52) - North Korea's Nuclear Deterrent and US Relations(01:05:15) - Potential US Troop Withdrawal from South Korea(01:08:49) - Conclusion and Final Thoughts--Jacob Shapiro Site: jacobshapiro.comJacob Shapiro LinkedIn: linkedin.com/in/jacob-l-s-a9337416Jacob Twitter: x.com/JacobShapJacob Shapiro Substack: jashap.substack.com/subscribe --The Jacob Shapiro Show is produced and edited by Audiographies LLC. More information at audiographies.com --Jacob Shapiro is a speaker, consultant, author, and researcher covering global politics and affairs, economics, markets, technology, history, and culture. He speaks to audiences of all sizes around the world, helps global multinationals make strategic decisions about political risks and opportunities, and works directly with investors to grow and protect their assets in today's volatile global environment. His insights help audiences across industries like finance, agriculture, and energy make sense of the world.--This podcast uses the following third-party services for analysis: Podtrac - https://analytics.podtrac.com/privacy-policy-gdrp
From the Taiping and Boxer Rebellions, to the Chinese Revolution and Civil War, through the Long March and the rise of Mao Zedong, to the Great Leap Forward and Cultural Revolution, all the way to Deng's Reform and China today, Professor of East Asian and Global History Dr. Ken Hammond walk us through 200 years of Chinese history to highlight in detail how modern China was forged through centuries of class struggle, resistance, rebellion, and revolution. After listening to this mega-episode you will have a profound, and deeply inspired, understanding of the rich modern history of China, and be much better able to understand its present and future. This series originally aired on Guerrilla History in the Spring of 2024 Support Guerrilla History HERE Learn More, Follow, and Support Rev Left Radio HERE
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