Podcasts about east asian

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

In the not-so-distant future, a U.S. military commander in the Indo-Pacific could be forced to fight two major wars at once - one against a Chinese assault on Taiwan, the other against a North Korean attack on the Korean Peninsula. This dual-front crisis scenario, long considered unlikely, is now routinely modeled in wargames and quietly debated in high-level policy circles. Yet the United States and its East Asian allies remain unprepared - not in terms of firepower, but in coordination, planning, and execution. Today's alliance architecture is not designed to handle a simultaneous conflict in Taiwan and Korea. The existing command structures are fragmented, force designs are nationally siloed, and procurement choices are often politically misaligned. In short, there is no unified playbook for fighting two wars in East Asia - let alone winning them. But the United States has faced a similar problem before. From NATO's founding in 1949 through West Germany's integration in 1955, Washington confronted a world where it had to deter simultaneous threats in Europe and Asia. It responded by building institutions - not just capabilities. The first phase of NATO's evolution offers enduring lessons in how to organize allies, align procurement, and prepare for multi-theater war. Today, the U.S.-Japan-South Korea triangle urgently needs to draw from that experience before the next crisis begins. Learning from NATO's Blueprint At the 1952 Lisbon Conference, NATO members committed to fielding 50 divisions - an ambitious goal that drove significant increases in defense spending across Europe. Washington played a central role in catalyzing this shift through economic leverage, strategic vision, and the shared threat of Soviet aggression. But what mattered more than raw spending was the coordinated structure that emerged: NATO didn't just build forces; it built a cohesive force. A parallel dynamic is unfolding in East Asia. Japan has pledged to double its defense budget by 2027, investing heavily in standoff missiles, ISR, and munition stockpiles. South Korea already spends over 2.7% of GDP on defense and is expanding long-range strike capabilities, naval power, and missile defenses. But unlike the early NATO experience, these efforts remain nationally fragmented. Without integration, the investments of today may become the inefficiencies of tomorrow. NATO's lesson is clear: deterrence is not created by defense spending alone. It depends on force structure coherence, shared priorities, and a division of labor among allies. If Japan fields Tomahawk cruise missiles and South Korea invests in submarine-launched cruise missiles and explores the development of a light aircraft carrier, who integrates and sustains these systems when crises erupt? Which ally reinforces which theater, and how quickly? Without institutional answers to these questions, military planning becomes guesswork. The lack of a trilateral command mechanism is one of the most pressing gaps. In 1951, NATO established SHAPE - the Supreme Headquarters Allied Powers Europe - as a centralized node for operational planning, logistics, and interoperability. Nothing like SHAPE exists in the Indo-Pacific today. The U.S.-ROK Combined Forces Command and U.S.-Japan coordination under USFJ and INDOPACOM remain bilateral and compartmentalized. The result is a strategic blind spot. In a Taiwan conflict, U.S. naval assets might be redeployed from Korean waters. Simultaneously, while Japan's 2015 security legislation enables expanded support for U.S. operations, political and legal constraints could still delay or limit Japan's full-spectrum support in a Korean contingency - particularly absent a trilateral planning framework. Rather than creating an "Asian NATO," the immediate solution could be the establishment of a trilateral planning cell within INDOPACOM - drawing staff from South Korea's Joint Chiefs of Staff and Japan's Self-Defense Forces. With access to real-time intelligence and s...

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.

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

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/chinese-studies

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

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

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

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 Against Identity, philosopher Alexander Douglas seeks an alternative wisdom. Searching the work of three thinkers – ancient Chinese philosopher Zhuangzi, Dutch Enlightenment thinker Benedict de Spinoza, and 20th Century French theorist René Girard – he explores how identity can be a spiritual violence that leads us away from truth. Through their worlds and radically different cultures, we discover how, at moments of historical rupture, our hunger for being grows: and yet, it is exactly these times when we should make peace with our indeterminacy and discover the freedom of escaping our selves. Alexander Douglas was born in Canberra, Australia where he studied music and philosophy. He now teaches the history of philosophy and the philosophy of economics at the University of St Andrews. He has published two books on the philosophy of Benedict de Spinoza and one on the philosophy of debt. He has grown increasingly interested in combining ideas from Western and East Asian philosophy. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

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

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/east-asian-studies

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

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/chinese-studies

In Against Identity, philosopher Alexander Douglas seeks an alternative wisdom. Searching the work of three thinkers – ancient Chinese philosopher Zhuangzi, Dutch Enlightenment thinker Benedict de Spinoza, and 20th Century French theorist René Girard – he explores how identity can be a spiritual violence that leads us away from truth. Through their worlds and radically different cultures, we discover how, at moments of historical rupture, our hunger for being grows: and yet, it is exactly these times when we should make peace with our indeterminacy and discover the freedom of escaping our selves. Alexander Douglas was born in Canberra, Australia where he studied music and philosophy. He now teaches the history of philosophy and the philosophy of economics at the University of St Andrews. He has published two books on the philosophy of Benedict de Spinoza and one on the philosophy of debt. He has grown increasingly interested in combining ideas from Western and East Asian philosophy. 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 Against Identity, philosopher Alexander Douglas seeks an alternative wisdom. Searching the work of three thinkers – ancient Chinese philosopher Zhuangzi, Dutch Enlightenment thinker Benedict de Spinoza, and 20th Century French theorist René Girard – he explores how identity can be a spiritual violence that leads us away from truth. Through their worlds and radically different cultures, we discover how, at moments of historical rupture, our hunger for being grows: and yet, it is exactly these times when we should make peace with our indeterminacy and discover the freedom of escaping our selves. Alexander Douglas was born in Canberra, Australia where he studied music and philosophy. He now teaches the history of philosophy and the philosophy of economics at the University of St Andrews. He has published two books on the philosophy of Benedict de Spinoza and one on the philosophy of debt. He has grown increasingly interested in combining ideas from Western and East Asian philosophy. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/spiritual-practice-and-mindfulness

Everyone's flying to Guadalajara for a snatched face—but what if the real facelift is energetic? In this episode, we dive into the rising trend of cosmetic surgery abroad and explore how East Asian medicine and metaphysics offer a radically different approach to beauty, aging, and vitality. Join us as we unpack the deeper layers of the face—both physical and metaphysical. Show Notes⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Elemental Archetypes⁠⁠⁠⁠⁠⁠⁠ – Daoist self-cultivation practices⁠⁠⁠⁠⁠⁠⁠Yang Face⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Chinese facial tool brandConnect with us! If you enjoyed this episode, share it and tag us — We'd love to hear from you!To support us, please subscribe, rate and review the show.Follow us on Instagram ⁠⁠⁠⁠⁠⁠⁠@BeautyBirthrightPod⁠⁠⁠⁠

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

The Russians came late to Japan, arriving after the Portuguese and other European powers. But as soon as they arrived, Russia tried to use spies and espionage to learn more about their neighbor—with various degrees of success. Sometimes, it failed miserably, like Russia's early attempts to make contact with pre-Meiji Japan, or the debacle during the Russo-Japanese War. Other times, they were wildly successful, like during the Battle of Khalkin Gol or with Richard Sorge's spy ring during the Second World War. James D. Brown covers Russia and the Soviet Union's efforts to learn more about Japan in Cracking the Crab: Russian Espionage Against Japan, from Peter the Great to Richard Sorge (Hurst, 2025), covering much both the famous examples of Russian spycraft, and the lesser-known missions—like Operation Postman, a successful effort to read the mail of Japanese diplomats in Italy. James is Professor of Political Science at Temple University, Japan. He is a specialist on East Asian politics and a regular media contributor, including for the BBC. His books include Japan, Russia and their Territorial Dispute (Routledge: 2016); and Japan's Foreign Relations in Asia (Routledge: 2018) and The Abe Legacy (Lexington Books: 2023) You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Cracking the Crab. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at@nickrigordon. 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 this episode of the ChinaPower Podcast, Ms. Mona Yacoubian and Mr. Tuvia Gering join us to unpack the latest escalation between Israel and Iran and explore how China is navigating this evolving conflict. They begin by situating the conflict in the aftermath of Hamas's October 7 attack, which triggered a series of strikes by Iranian-backed militias that eventually led to direct Israel-Iran military confrontations. Ms. Yacoubian outlines how Israeli strikes were timed around a perceived window of Iranian vulnerability and rising concerns over Iran's nuclear enrichment levels. Mr. Gering describes a significant paradigm shift in Israeli security doctrine after October 7, and the belief that Iranian threats, both nuclear and conventional, have necessitated preemptive action, especially with the current Trump administration's backing. Ms. Yacoubian highlights the limited material support to Iran from Russia, North Korea, and China, and noted China's preference to prioritize regional economic ties over military entanglement. Mr. Gering delves into the mixed Chinese domestic debates on Iran and explores unconfirmed reports of potential Chinese arms transfers to Iran. Finally, they assess what these developments may mean for China's long-term role in Middle East security, including the possibility of a new security architecture that could include both Israel and Iran, and how Iran's strategic calculations may shift amid growing isolation. Mona Yacoubian is senior adviser and director of the Middle East Program at the Center for Strategic and International Studies (CSIS). She has more than thirty years of experience working on the Middle East and North Africa, with a focus on conflict analysis, governance and stabilization challenges, and conflict prevention. She was previously vice president of the Middle East and North Africa Center at the U.S. Institute of Peace (USIP), where she managed field programming in Iraq, Libya, and Tunisia as well as Washington, D.C.–based staff. In 2019, she served as executive director of the congressionally appointed Syria Study Group. From 2014 to 2017, Yacoubian served as deputy assistant administrator in the Middle East Bureau at the U.S. Agency for International Development (USAID), where she had responsibility for programming across Syria, Jordan, Lebanon, and Iraq. Captain (Res.) Tuvia Gering is a China analyst at Planet Nine, a Tel-Aviv and East Asia-based tech company, a visiting researcher at the Diane & Guilford Glazer Foundation Israel-China Policy Center at the Institute for National Security Studies (INSS), and a nonresident fellow in the Atlantic Council's Global China Hub. Previously, he was a research fellow at the Jerusalem Institute for Strategy and Security (JISS) and the Israeli Chinese Media Center. Gering is the editor and author of Discourse Power on Substack, a newsletter covering leading Chinese perspectives on current affairs, and holds a BA in East Asian studies from the Hebrew University of Jerusalem (summa cum laude) and an MPH in disaster and emergency management from Tel Aviv University (summa cum laude).

The Russians came late to Japan, arriving after the Portuguese and other European powers. But as soon as they arrived, Russia tried to use spies and espionage to learn more about their neighbor—with various degrees of success. Sometimes, it failed miserably, like Russia's early attempts to make contact with pre-Meiji Japan, or the debacle during the Russo-Japanese War. Other times, they were wildly successful, like during the Battle of Khalkin Gol or with Richard Sorge's spy ring during the Second World War. James D. Brown covers Russia and the Soviet Union's efforts to learn more about Japan in Cracking the Crab: Russian Espionage Against Japan, from Peter the Great to Richard Sorge (Hurst, 2025), covering much both the famous examples of Russian spycraft, and the lesser-known missions—like Operation Postman, a successful effort to read the mail of Japanese diplomats in Italy. James is Professor of Political Science at Temple University, Japan. He is a specialist on East Asian politics and a regular media contributor, including for the BBC. His books include Japan, Russia and their Territorial Dispute (Routledge: 2016); and Japan's Foreign Relations in Asia (Routledge: 2018) and The Abe Legacy (Lexington Books: 2023) You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Cracking the Crab. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at@nickrigordon. 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

The Russians came late to Japan, arriving after the Portuguese and other European powers. But as soon as they arrived, Russia tried to use spies and espionage to learn more about their neighbor—with various degrees of success. Sometimes, it failed miserably, like Russia's early attempts to make contact with pre-Meiji Japan, or the debacle during the Russo-Japanese War. Other times, they were wildly successful, like during the Battle of Khalkin Gol or with Richard Sorge's spy ring during the Second World War. James D. Brown covers Russia and the Soviet Union's efforts to learn more about Japan in Cracking the Crab: Russian Espionage Against Japan, from Peter the Great to Richard Sorge (Hurst, 2025), covering much both the famous examples of Russian spycraft, and the lesser-known missions—like Operation Postman, a successful effort to read the mail of Japanese diplomats in Italy. James is Professor of Political Science at Temple University, Japan. He is a specialist on East Asian politics and a regular media contributor, including for the BBC. His books include Japan, Russia and their Territorial Dispute (Routledge: 2016); and Japan's Foreign Relations in Asia (Routledge: 2018) and The Abe Legacy (Lexington Books: 2023) You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Cracking the Crab. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at@nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/russian-studies

Tom Mullaney is professor of history and of East Asian languages at Stanford, and he has one of the most awesomely nerdy areas of interest and research that I've seen in a long time: Chinese typewriters and early Chinese computers (not necessarily electronic)

Mike Johnston is the mayor of Denver. I like Mike though we probably only agree about half the time. I've been looking forward to this conversation and hope you find it informative. Tom Mullaney is professor of history and of East Asian languages at Stanford, and he has one of the most awesomely nerdy areas of interest and research that I've seen in a long time: Chinese typewriters and early Chinese computers (not necessarily electronic)And... hot dogs.

Here in Louisiana, intergenerational cooking is a way of life. Who doesn't treasure their great grandmother's gumbo recipe or still use their mom's roasting pan? This week, we talk with two women of East Asian heritage whose families and cultures share that motherly love expressed through food. Local-girl-made-good, Chef Nini Nguyen, grew up among the large Vietnamese population in New Orleans and shot to national prominence on "Top Chef." Nini joins us to talk about her rise to fame, her family, and her publication, "Đặc Biệt: An Extra Special Vietnamese Cookbook," which was named cookbook of the year by NPR. Then, we hear from Sarah Ahn, the social media manager for America's Test Kitchen and creator of Ahnest Kitchen, the website on which she recounts stories of her life and those of her Korean immigrant parents. Sarah's also the author of, "Umma: A Korean Mom's Kitchen Wisdom and 100 Family Recipes." She tells us about her bestselling cookbook, which is also part family memoir and part cultural history. For more of all things Louisiana Eats, be sure to visit us at PoppyTooker.com.

In this powerful episode, we're joined by Dr. Jennifer Ashby, Doctor of East Asian Medicine and respected integrative health expert, to explore what it means to truly know your body—and why ancient wisdom might hold the keys we've been missing. Most of us have been raised in a Western healthcare model where 15-minute appointments and diagnosis are the norm. Many of us are only now realising how little we've been taught about our own bodies—until something starts to feel off. That's where East Asian Medicine often steps in. Together, we explore:

Dr. Shinyong Kwon joins this week's episode to discuss how neighborhood associations — known today as inminban in the DPRK — have been used as tools of governance, social indoctrination and moral authority. She explains how these associations originated from East Asian communal traditions but were reshaped under Japanese colonial rule to serve wartime mobilization and state control and traces how both Koreas retained and adapted the system post-liberation. Dr. Shinyoung Kwon holds a PhD in history from the University of Chicago and did postdoctoral research at the University of Cambridge. She now lives in the United States. Her book Moral Authoritarianism: Neighborhood Associations in the Three Koreas, 1931–1972 was published in November 2023.  About the podcast: The North Korea News Podcast is a weekly podcast hosted by Jacco Zwetsloot exclusively for NK News, covering all things DPRK — from news to extended interviews with leading experts and analysts in the field, along with insight from our very own journalists. NK News subscribers can listen to this and other exclusive episodes from their preferred podcast player by accessing the private podcast feed. For more detailed instructions, please see the step-by-step guide at nknews.org/private-feed.

Examining the history of nomadic pastoralism across Asia—from the Caucasus and Central Asian steppes to ancient Mesopotamia—reveals a consistent pattern: settled elites have repeatedly waged war against pastoral peoples. Both the Bible and the Qur'an emerged from nomadic pastoral societies, yet these same texts were later weaponized by sedentary civilizations against the very peoples once nurtured by them. We are witnessing this tragic pattern unfold again in real time—perhaps in its most brutal form yet—with escalating consequences that now reach into the heart of the West, the heir of Greco-Roman hubris.Even in pre-biblical East Asian traditions, such as the Confucian Book of Odes, herdsmen arrive with their flocks to establish an unnamed prince—a figure who emerges not from the city but from the periphery to usher in an era of divine justice. This archetype, consolidated in the Bible and the Qur'an, becomes active in the world whenever and wherever the voice from the pasture rises against the corruption of the palace.This is the Voice of the Scriptural God—The Voice of the Shepherd.It will not be silenced.It cannot be bought.It does not serve a throne.It does not belong to anyone.It roams freely upon the earth,calling its flock from the outlands, out of the city to the wilderness.The Biblical Jesus is near, habibi—And it's time for the Lord to act.It's time for Ibrahim's Discords.سُبْحَانَ مَنْ جَعَلَ فِي الْحَمْدِ نُورًا(subḥāna man jaʿala fī al-ḥamdi nūran)“Glory to the one who placed light within praise.”This week, I discuss Luke 8:32-34.Photo by Cajeo Zhang on UnsplashShow notesἀγέλη (agelē) / ע־ד־ר (ʿayin–dalet–resh) / غ–د–ر (ghayn–dāl–rāʾ)In the Gospel of Matthew, we are warned that God will separate the sheep from the goats. Mishearing this, the rule-followers among us foolishly turn their gaze outward, seeking to teach others which rules to follow. In doing so, they become goat-finders and goat-fixers—lions and bears who come not to protect the flock but to steal sheep from it.But in Luke's application of ע־ד־ר (ʿayin–dalet–resh) from the Song of Songs, this dichotomy is flipped on its head. When the mashal unfolds at the Decapolis in Luke, the Song's poetic use of ἀγέλη (agelē)—interchanging goats and sheep—reveals the Bible's mockery of human rule-followers. The constant switch between goats and sheep in the Song of Songs reflects a deliberate poetic symmetry: the goats evoke movement and allure (hair), while the sheep evoke purity and precision (teeth).This imagery, drawn from real pastoral life, is repurposed to undermine self-righteous Hellenistic legal constructs. There is no intent in the text to constrain the beloved or to define her by a boundary. Rather, it moves freely—dark and light, wild and ordered, descending and ascending—a complete pastoral image that cannot be systematized. The beloved is named not to be limited, but to be delighted in—not judged, but adored.David said to Saul, “Your servant was tending his father's flock [הָעֵדֶר (hā-ʿēder)], and when a lion or a bear came and took a sheep from the flock…” (1 Samuel 17:34)Know well the condition of your flocks [עֲדָרִים (ʿădārīm)], and pay attention to your herds; (Proverbs 27:23)Tell me, you whom my soul loves, where do you pasture your flock [עֵדֶר (ʿeder)], where do you have it lie down at noon? For why should I be like one who veils herself beside the flocks of your companions? (Song of Songs 1:7)Your hair is like a flock [כְּעֵדֶר (kə-ʿēder)] of goats, coming down from Mount Gilead. (Song of Songs 4:1)Your teeth are like a flock [כְּעֵדֶר (kə-ʿēder)] of newly shorn sheep, which have come up from their watering place… (Song of Songs 4:2)Your hair is like a flock [כְּעֵדֶר (kə-ʿēder)] of goats that have descended from Gilead. (Song of Songs 6:4)Your teeth are like a flock [כְּעֵדֶר (kə-ʿēder)] of ewes which have come up from their watering place… (Song of Songs 6:5)Still, even in the open pasture, there are rules of engagement. This is how one should hear the text—as a Bedouin.Surat Al-Anfāl (سورة الأنفال, The Spoils of War) addresses the terms of conflict and the proper conduct of the faithful toward their enemies. It contains the Qur'an's only occurrence of the Lukan-corresponding root غ–د–ر (ghayn–dāl–rāʾ)—a term that denotes treachery or betrayal. Even when nomadic clans behave treacherously, those who follow God are commanded to act transparently—even in the face of betrayal. The response to ghadr is not reciprocal deceit, but open disengagement.The verse also contains the word قَوْمٍ (qawm), meaning “those who stand or rise together as a group,” from the root ق–و–م (qāf–wāw–mīm). Its presence evokes the image of a herd rising for judgment—a disobedient gathering whose posture does not guarantee righteousness. Instead, it invokes divine judgment, alluding to the Day of the Lord. This imagery echoes the Gosp...

Myth and Identity in the Martial Arts: Creating the Dragon (Lexington Books, 2025) is a study of the role of myth and ideology in the formation of social identity, focusing on a variety of communities of practice involving the martial arts in East Asian and Western history. Alexus McLeod argues that myths of the martial arts should not be understood as “falsehoods” created as means of legitimizing modern practices, but should instead be understood as narratives that enable individuals and communities to formulate social identities and to accord meaning to their practices. This book covers six influential sources of myth and identity formation in the history of martial arts: early Chinese and Indian philosophy, the formation bushido thought in the Edo period of Japan, Republican-era Chinese conceptions of nationhood and physical culture, Western contributions and the innovations of Bruce Lee, African American conceptions of martial arts as a response to oppression in the twentieth century, and the contemporary ideologies of mixed martial arts. On doing philosophy with non-textual sources, see Alexus McLeod, An Introduction to Mesoamerican Philosophy.  On violence as the preferred weapon of the stupid (so they can avoid doing any interpretative labour), see David Graeber, The Utopia of Rules: On Technology, Stupidity, and the Secret Joys of Bureaucracy. 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

Myth and Identity in the Martial Arts: Creating the Dragon (Lexington Books, 2025) is a study of the role of myth and ideology in the formation of social identity, focusing on a variety of communities of practice involving the martial arts in East Asian and Western history. Alexus McLeod argues that myths of the martial arts should not be understood as “falsehoods” created as means of legitimizing modern practices, but should instead be understood as narratives that enable individuals and communities to formulate social identities and to accord meaning to their practices. This book covers six influential sources of myth and identity formation in the history of martial arts: early Chinese and Indian philosophy, the formation bushido thought in the Edo period of Japan, Republican-era Chinese conceptions of nationhood and physical culture, Western contributions and the innovations of Bruce Lee, African American conceptions of martial arts as a response to oppression in the twentieth century, and the contemporary ideologies of mixed martial arts. On doing philosophy with non-textual sources, see Alexus McLeod, An Introduction to Mesoamerican Philosophy.  On violence as the preferred weapon of the stupid (so they can avoid doing any interpretative labour), see David Graeber, The Utopia of Rules: On Technology, Stupidity, and the Secret Joys of Bureaucracy. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Myth and Identity in the Martial Arts: Creating the Dragon (Lexington Books, 2025) is a study of the role of myth and ideology in the formation of social identity, focusing on a variety of communities of practice involving the martial arts in East Asian and Western history. Alexus McLeod argues that myths of the martial arts should not be understood as “falsehoods” created as means of legitimizing modern practices, but should instead be understood as narratives that enable individuals and communities to formulate social identities and to accord meaning to their practices. This book covers six influential sources of myth and identity formation in the history of martial arts: early Chinese and Indian philosophy, the formation bushido thought in the Edo period of Japan, Republican-era Chinese conceptions of nationhood and physical culture, Western contributions and the innovations of Bruce Lee, African American conceptions of martial arts as a response to oppression in the twentieth century, and the contemporary ideologies of mixed martial arts. On doing philosophy with non-textual sources, see Alexus McLeod, An Introduction to Mesoamerican Philosophy.  On violence as the preferred weapon of the stupid (so they can avoid doing any interpretative labour), see David Graeber, The Utopia of Rules: On Technology, Stupidity, and the Secret Joys of Bureaucracy. 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

Myth and Identity in the Martial Arts: Creating the Dragon (Lexington Books, 2025) is a study of the role of myth and ideology in the formation of social identity, focusing on a variety of communities of practice involving the martial arts in East Asian and Western history. Alexus McLeod argues that myths of the martial arts should not be understood as “falsehoods” created as means of legitimizing modern practices, but should instead be understood as narratives that enable individuals and communities to formulate social identities and to accord meaning to their practices. This book covers six influential sources of myth and identity formation in the history of martial arts: early Chinese and Indian philosophy, the formation bushido thought in the Edo period of Japan, Republican-era Chinese conceptions of nationhood and physical culture, Western contributions and the innovations of Bruce Lee, African American conceptions of martial arts as a response to oppression in the twentieth century, and the contemporary ideologies of mixed martial arts. On doing philosophy with non-textual sources, see Alexus McLeod, An Introduction to Mesoamerican Philosophy.  On violence as the preferred weapon of the stupid (so they can avoid doing any interpretative labour), see David Graeber, The Utopia of Rules: On Technology, Stupidity, and the Secret Joys of Bureaucracy. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/asian-american-studies

Myth and Identity in the Martial Arts: Creating the Dragon (Lexington Books, 2025) is a study of the role of myth and ideology in the formation of social identity, focusing on a variety of communities of practice involving the martial arts in East Asian and Western history. Alexus McLeod argues that myths of the martial arts should not be understood as “falsehoods” created as means of legitimizing modern practices, but should instead be understood as narratives that enable individuals and communities to formulate social identities and to accord meaning to their practices. This book covers six influential sources of myth and identity formation in the history of martial arts: early Chinese and Indian philosophy, the formation bushido thought in the Edo period of Japan, Republican-era Chinese conceptions of nationhood and physical culture, Western contributions and the innovations of Bruce Lee, African American conceptions of martial arts as a response to oppression in the twentieth century, and the contemporary ideologies of mixed martial arts. On doing philosophy with non-textual sources, see Alexus McLeod, An Introduction to Mesoamerican Philosophy.  On violence as the preferred weapon of the stupid (so they can avoid doing any interpretative labour), see David Graeber, The Utopia of Rules: On Technology, Stupidity, and the Secret Joys of Bureaucracy. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/buddhist-studies

Since the earliest encounters between tantric traditions and Western scholars of religion, tantra has posed a challenge. The representation of tantra, whether in Bengal, Tamil Nadu, Tibet, or Japan, has tended to emphasize the antinomian, decadent aspects, which, as attention-grabbing as they were for audiences in the West, created a one-dimensional understanding, and hampered the academic study of the field for more than a century. Additionally, the Western perspective on religion has been dominated by doctrinal studies. As a result, sectarian boundaries between different tantric traditions are frequently replicated in the scholarship, and research tends to be sequestered according to different schools of South Asian, Central Asian, Southeast Asian, and East Asian tantric traditions.The Oxford Handbook of Tantric Studies (Oxford UP, 2024) is intended to overcome these obstacles, facilitating collaboration between scholars working on different forms of tantra. The Introduction provides an overview of major issues confronting the field today, including debates regarding the definition and category of "tantra" historical origins, recent developments in gender studies and tantra, ethnography and "lived tantra" and cognitive approaches to tantra. Using a topical framework, the opening section explores the concept of action, one of the most prominent features of tantra, which includes performing rituals, practicing meditation, chanting, embarking on a pilgrimage, or re-enacting moments from a sacred text. From there, the sections cover broad topics such as transformation, gender and embodiment, "extraordinary" beings (such as deities and saints), art and visual expressions, language and literature, social organizations, and the history and historiography of tantra. With co-editors in chief who specialize in the Hindu and Buddhist perspectives, a global pool of contributors, and over 40 chapters, the Handbook aims to provide the definitive reference work in this dynamic field. 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

The Book of Mormon posits that some or all Native Americans are descended from Israelites who migrated to the Americas. However, DNA studies of modern Native Americans show no significant genetic links to Middle Eastern populations, leading to debates about the Book of Mormon's historical accuracy. The Book of Mormon describes migrations of Israelites to the Americas, including groups like the Jaredites, Nephites, and Lamanites, who were said to be the "principal ancestors" of the Native Americans and now said to be "among" the ancestors of the Native Americans as DNA continues to challenge this narrative.Advances in DNA studies continue to show that most Native American populations have strong genetic links to East Asian populations, with no evidence of Middle Eastern ancestry.Thank you so much for listening Mormonish Podcast!***How to DONATE to Mormonish Podcast: If you would like to help financially support our podcast, you can DONATE to support Mormonish Podcast here: Mormonish Podcast is a 501(c) (3) https://donorbox.org/mormonish-podcast ****WE HAVE MERCH! **** If you'd like to purchase Mormonish Merch, you can visit our Merch store here: https://www.etsy.com/shop/mormonishmerch We appreciate our Mormonish viewers and listeners so much! Don't forget to LIKE and SUBSCRIBE to Mormonish Podcast! Contact Mormonish Podcast: mormonishpodcast@gmail.com

Matthew Bannister on The TV director Michael Lachmann who made some of the most acclaimed documentaries about science. Professor Brian Cox and Dame Maggie Aderin-Pocock pays tribute. Pik-sen Lim who became one of the most recognisable East Asian actors on British TV. Leon Krier, the master planner behind King Charles's controversial Poundbury development. David “Syd” Lawrence, the fast bowler who was the first British-born black cricketer to play for England.Interviewee: Professor Brian Cox Dame Maggie Aderin-Pocock Sara Houghton Ben Pentreath Dean WilsonProducer: Ribika MoktanArchive used:Wonders of the Solar System: Order out of Chaos, BBC 2, BBC Production, written & directed by Michael Lachmann, series producer Danielle Peck, A BBC/ Science Channel Co-Production, BBC MMXVI, 14/03/2010; Wonders of the Universe: Stardust, produced and dir by Michael Lachmann, Series Producer James Van Der Pool, BBC Production, A BBC/ Discover/ Science Channel Co-Production BBC MMXVI, BBC Two, 04/07/2011; The Sky at Night: Planet 9 from Outer Space, Series Producer Michael Lachmann, BBC Science Production London, BBC MMXVI, BBC 4, 14/02/2016, bbc.co.uk/skyatnight; Human Universe: A Place in Space Time, produced & directed by: Stephen Cooter & Michael Lachmann, BBC Production, A BBC/ Science Channel Co-Production, BBC 2, 02/11/2014; Emergency Ward 10, script by Tessa Diamond, Directed by Peter Sasdy, An ATV Production, ITV, 1957-1967; Mind Your Language, creator Vince Powell, directed by Stuart Allen, London Weekend Television, ITV, 1977-1986; Celebrating & Connecting BESEA Women in Film, TV & Theatre, YouTube Upload KakiLang, 27/04/2021; Doctor Who, Season 8; The Mind of Evil, Episode 1, Producer Barry Letts, directed by Timothy Combe, BBC TV, 1971; Jenny: The Doctor's Daughter - Volume 1, Neon Reign, June 2018, written by Christian Brassington, directed by director Barnaby Edwards, Big Finish Productions; Newsnight, BBC Two, 26/07/1985; BBC News, 10/02/1992; BBC Points West 19/11/2014; BBC News, 15/10/1991; Third Ear: Leon Krier, BBC Radio 3, 21/02/1992; What Revival?, BBC Radio 3, 03/06/1983

It's the 75th anniversary of the Korean War. Looking at the politics and history of the "Forgotten War," we talk with journalist Tim Shorrock. We disucss the Open Door in Asia, the Japanese occupation of Korea, communist resistance to it, the rise of right wing South Korean forces, North Korea crossing the 38th parallel, the Cold War and more. Bio//Tim Shorrock is an American writer and commentator on US foreign policy, US national security and intelligence, and East Asian politics. He is author of "The Political Economy of the Pacific Rim: An Analysis of the Relationship Between the Pacific Northwest and East Asia," and "Spies for Hire: The Secret World of Intelligence Outsourcing."----------------------------------------------Outro- "Green and Red Blues" by MoodyLinks//+ Tim's Substack: https://substack.com/@timshorrock + Tim's Website: https://timshorrock.com/Follow Green and Red// +G&R Linktree: ⁠⁠⁠https://linktr.ee/greenandredpodcast⁠⁠⁠ +Our rad website: ⁠⁠⁠https://greenandredpodcast.org/⁠⁠⁠ + Join our Discord community (https://discord.gg/3a6AX7Qy)+Follow us on Substack (https://greenandredpodcast.substack.com)+Follow us on Bluesky (https://bsky.app/profile/podcastgreenred.bsky.social)Support the Green and Red Podcast// +Become a Patron at https://www.patreon.com/greenredpodcast +Or make a one time donation here: ⁠⁠⁠https://bit.ly/DonateGandR⁠⁠⁠ Our Networks// +We're part of the Labor Podcast Network: ⁠⁠⁠https://www.laborradionetwork.org/⁠⁠ +We're part of the Anti-Capitalist Podcast Network: linktr.ee/anticapitalistpodcastnetwork +Listen to us on WAMF (90.3 FM) in New Orleans (https://wamf.org/) + Check us out! We made it into the top 100 Progressive Podcasts lists (#68) (https://bit.ly/432XNJT) This is a Green and Red Podcast (@PodcastGreenRed) production. Produced by Bob (@bobbuzzanco) and Scott (@sparki1969). Edited by Scott

In episode 708, Megan chats to Hanelore Dumitrache and Mariska Ramondino about using artificial intelligence to streamline workflows, understand your audience, and create a more impactful blogging business. Hanelore Dumitrache Hanelore Dumitrache is a food blogger, tech entrepreneur, AI educator and author. Her work tries to bridge the gap between technology and the blogging world. As the founder of Whimzi AI, she's currently developing AI-driven tools for food bloggers and content creators. Her food blog SugarYums focuses on East Asian street food and desserts.  Mariska Ramondino Mariska Ramondino is an international fiscal tax lawyer turned business consultant and now a food blogger with a consulting business on the side. Through her blog, she shares her passion for nutritious home-cooked meals and a more balanced lifestyle. She also offers writing and consulting services for fellow bloggers. Additionally, Mariska is a partner and co-founder of Whimzi AI, a tech-driven company providing custom AI solutions and AI-powered analytics for food bloggers. In this episode, you'll learn how to harness the power of AI to save time, make data-driven decisions, and deliver better user experiences on your blog. Hanelore and Mariska share their favorite strategies, tools, and mindset shifts to help you move past fear and use AI to grow a smarter, more efficient blogging business. Key points discussed include: - AI isn't a threat—it's an opportunity: Embracing AI can help food bloggers develop more well-rounded businesses and better serve their audiences. - Start by identifying what you don't love doing: Use AI to take over repetitive or tedious tasks like writing pin descriptions, social captions, or analyzing data. - Analyze your data with ease: ChatGPT can interpret your Google Analytics and ad reports to surface trends, content gaps, and monetization opportunities. - Build authority through topic clusters: Use AI to identify your strongest-performing content and build strategic clusters to boost topical authority and improve EEAT. - Use reader questions to fuel content ideas: Input comments and questions from your blog or social media into ChatGPT to identify missing content or new recipe opportunities. - Incorporate AI into your workflow as a virtual team: Assign AI roles like content strategist, SEO assistant, or copywriter to streamline weekly blog tasks. - Set and stick to your goals with AI support: Use AI to map out your time, reset your mindset, and stay accountable to your personal and business goals. Connect with Hanelore Dumitrache Website | Instagram Connect with Mariska Ramondino Website | Instagram      

Regina Linke was born and raised in Texas, and she always enjoyed the creative arts, but she didn't learn traditional Chinese painting until after moving with her young family to Taiwan in her mid-thirties. Holding management degrees from Washington University in St. Louis and Cornell University, she worked in marketing technology and information systems for the travel and tourism industry. Now, however, she creates and illustrates stories that celebrate East Asian folklore and philosophy in an accessible way. Her most notable creations are the characters from The Oxherd Boy, a single-panel, webcomic that started on Instagram. A young boy, his family ox, and a rabbit living in his garden convey the three core schools of Classical Chinese thought: Taoism, Buddhism, and Confucianism. The best-selling collection of these inspirational pieces called THE OXHERD BOY: Parables of Love, Compassion, and Community released in 2024, and was followed in 2025 by its first original story for children called Big Enough. A second picture book, Little Helper expanding on this world is slated for release in Summer 2026. Here's a link for behind the scenes of her painting: https://oxherdboy.org/pages/digital-painting And here's a link if you'd like to purchase "Big Enough": https://oxherdboy.org/pages/big-enough  

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