Podcasts about Korean

In Part 2 of Episode 265 of the Mike Drop Podcast, host Mike Ritland continues his in-depth conversation with Ken Rhee — a Korean-American UDT/SEAL (ROK SEAL) who grew up in the U.S., served in South Korea's elite naval special warfare unit, trained at American BUD/S, fought pirates off Somalia, volunteered in Ukraine, and now runs a private military consulting firm while navigating strict Korean gun laws and a suspended prison sentence. Expect raw insights into cross-national SEAL training, hostage-rescue ops, post-military contracting, the realities of foreign volunteer combat, and a unique cultural take on firearms, self-defense, and crime from someone who's lived in both American and Korean worlds. Audio is Zoom-based but packed with unfiltered stories you won't hear anywhere else. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Bretman's back from Korea and feeling extra enlightened - literally and spiritually. This week, B and Miss Kaaaye spill all the tea: from Bretman's color analysis (RIP gray tones) and luxury Korean skincare haul to his failed attempt at bleaching his… well, you know. The duo dive into the queer history of lavender marriages, discover that “lesbian” originated from the island of Lesbos, and read ancient sapphic poetry with full dramatic flair. Plus, Miss K's new fillers, Honolulu Pride recap, and why Bretman says the Big Bang was gay.Produced by Dear MediaSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this second episode of our series on Korean Cults, we trace the tangled roots of Korea's modern messianic movements—shaped by Jeong Deuk-eun (“The Great Holy Mother”) and Kim Baek-moon—gave birth to a new religion that blended Confucianism, Taoism, and Christian language into a syncretic gospel of bloodline purification and “True Bloodline Lineage. We then follow how this ideology influenced later leaders like Jung Myung-seok (JMS) and Park Tae-seon of the Olive Tree Movement, revealing the disturbing legacy of Korean messiahship and political infiltration that continues today through groups like the Moonies, Shincheonji, and WMSCOG. We're joined by Pastor Yang, Adjunct Professor of New Testament at the Presbyterian University and Theological Seminary in Seoul, who holds a Doctor of Theology in New Testament and served as a Visiting Scholar at Trinity Evangelical Divinity School (2023–2024). Also joining us is Chris, a former member of Shincheonji and returning Cultish guest, who shares his firsthand experience and ongoing efforts to raise awareness about the growing global influence of Korean cults. Together, we expose how the False Christs of Korea: The Unification Church and the Olive Tree Legacy which redefined the Gospel, replaced biblical revelation with self-proclaimed messiahs, and continue to shape Korea's—and the world's—spiritual landscape today.Partner With Us & Be Part of the Mission to Change Lives: HERESHOP OUR MERCH: HEREPlease consider subscribing to our YouTube Channel: CultishTV.comCultish is a 100% crowdfunded ministry. -- Email Chris & Pastor Yang: biblev@daum.net Chris@examiningthecults.org Chris's Website: HEREChris's YouTube: HEREPastor Yang's YouTube: HERE

Dan is off this week. So we are pleased to bring you a feature from our new limited series American Unexceptionalism: Global Lessons on Fighting Religious Nationalism with Dr. Matthew Taylor and Rev. Susan Hayward. South Korea is a nation that is deeply entwined with the United States. From the Korean War (which never technically ended) to Korean pop culture to the deep ties between Korean and American evangelical communities, what happens in the US affects South Korea and vice versa. But most Americans weren't paying attention to the fact that Korean democracy was startlingly challenged less than a year ago when the president at the time (President Yoon) declared martial law and tried to have his political enemies arrested. That attempt at autocratic takeover was unsuccessful, because Koreans took to the streets to protest and even Yoon's own party helped overturn his martial law decision and then impeach him. What can we in the United States learn from Korean activists and religious communities about how to resist wannabe tyrants? We get help on this question from two of the foremost experts on the interchanges between Korean religion and American religion: Helen J. Kim and Ray Kim. Additional Resources https://helenjinkim.com/ Home - International Center for Religion & Diplomacy - International Center for Religion & Diplomacy Helen J. Kim, Race for Revival: How Cold War South Korea Shaped the American Evangelical Empire (New York: Oxford University Press, 2022), https://global.oup.com/academic/product/race-for-revival-9780190062422. Paul Y. Chang, Protest Dialectics: State Repression and South Korea's Democracy Movement, 1970-1979 (Redwood City, CA: Stanford University Press, 2015), https://www.sup.org/books/asian-studies/protest-dialectics.  Chanhee Ho, “Charlie Kirk Memorial in Seoul Shows Power of Christian Nationalism for Young Korean Activists,” Religion Dispatches, September 30, 2025, https://religiondispatches.org/charlie-kirk-memorial-in-seoul-shows-power-of-christian-nationalism-for-young-korean-activists/. Dr. Matthew D. Taylor is the senior Christian scholar at the Institute for Islamic, Christian, and Jewish Studies in Baltimore, where he specializes in American Christianity, American Islam, Christian extremism, and religious politics. His book, The Violent Take It by Force: The Christian Movement that is Threatening Our Democracy (Broadleaf, 2024), tracks how a loose network of charismatic Christian leaders called the New Apostolic Reformation was a major instigating force for the January 6th Insurrection and is currently reshaping the culture of the religious right in the U.S. Taylor is also the creator of the audio docuseries Charismatic Revival Fury: The New Apostolic Reformation. Rev. Susan Hayward: was until recently the lead on the US Institute of Peace's efforts to understand religious dimensions of conflict and advance efforts engaging religious actors and organizations in peacebuilding. She has conducted political asylum and refugee work with the United Nations High Commissioner for Refugees and Advocates for Human Rights. Rev. Hayward studied Buddhism in Nepal and is an ordained minister in the United Church of Christ. www.axismundi.us Executive Producer: Dr. Bradley Onishi Producer: Andrew Gill Original Music and Mixing: Scott Okamoto Production Assistance: Kari Onishi Funded through generous contributions from ICJS, Princeton Theological Seminary, and the ICRD. Learn more about your ad choices. Visit megaphone.fm/adchoices

learn how to say 'be good at' in Korean

Miss Heard celebrates Season 7, Episode 324, where we dive into the global smash hit “Apt.” the electrifying collaboration between Rosé of BLACKPINK and Bruno Mars that topped charts around the world. Inspired by a playful Korean drinking game, the track fuses pop, rock, and new wave energy with irresistible charm, marking Rosé's triumphant return as a solo artist. We'll explore the song's creation, its record-breaking success, and how it became a cultural bridge between Seoul and Hollywood. You can listen to all our episodes at our website at: https://pod.co/miss-heard-song-lyrics Or iTunes, Stitcher, Spotify and many more platforms under Podcast name “Miss Heard Song Lyrics” Please consider supporting our little podcast via Patreon at https://www.patreon.com/MissHeardSongLyrics or via PayPal at https://www.paypal.com/paypalme/MissHeardSongLyrics #missheardsonglyrics #missheardsongs #missheardlyrics #misheardsonglyrics #podcastinavan #vanpodcast #SongLyricsFails #MusicPodcast #PodcastLovers #MustListen #Rose' #BrunoMars #APT. #Blackpink #KPop   https://en.wikipedia.org/wiki/Apt._(song) https://en.wikipedia.org/wiki/Ros%C3%A9_(singer) https://en.wikipedia.org/wiki/Blackpink https://www.songfacts.com/facts/rose/apt https://www.youtube.com/watch?v=ekr2nIex040

Happy birthday to the Marine Corps – yesterday! Michigan Man Merrill honors Veterans Day today. On a domestic veterans’ flight today, honoring those who served in WWII and the Korean and Vietnam wars, the veterans got a special shoutout from Barack Obama. A man in his 30s stripped off and started roaming around naked in Studio City. He knocked down a 79-year-old Vietnam veteran named George Karkoc after breaking into his house, breaking both the vet’s legs, but he fought back, shooting the trespasser in self-defense. There’s a new proposal that suggests splitting the state of California into two separate states. SNAP benefits are on again, off again, leaving many hungry families in limbo. The Supreme Court has extended an order blocking full funding of food stamp benefits. See omnystudio.com/listener for privacy information.

Folks… did you think spooky season was over? It ain't truly finished yet! Reaching into November now, the autumnal season has brought us to a little mash-up of Horror Adjacent™️ and Veterans Day graces. We're covering our second South Korean film of the show. In the jungles of Southeast Asia during the Vietnam War, a Korean squad, led by Lieutenant Choi, heads into the mist and fog of a mysterious island to rescue a missing platoon. Will they get out alive? Somehow connecting the horror genre with the horrors of war itself, director Kong Su-chang brings us an interesting combination of artful and subtle scares with the injured psyches of soldiers aching to return home. Join Chris and Kevin as they delve into the mysterious jungles of warfare, silhouettes, and ghosts. Hear us out as we make our point for R-point!

In this episode of Cinema Verbi, Fathers Brian and Matt welcome their very first special guest: Alyssa, daughter of the show's sound producer. She's here to help them unpack the wildly popular animated hit, K-Pop Demon Hunters. The trio discuss the film's themes of good versus evil, identity, and truth, finding once again that even pop culture can reflect the Gospel message. (0:29) The episode opens with excitement as hosts Fr. Brian and Fr. Matt introduce their first special guest, Alyssa. She's the daughter of the show's producer and has been recruited to discuss the Netflix summer smash hit, K-Pop Demon Hunters. She's seen the movie at least ten times, which prompts our hosts to joke that she's responsible for a significant share of the film's 325 million global views. (2:43) Fr. Matt and Fr. Brian give an overview of K-pop, or Korean pop, a popular music genre that blends singing, dancing, and performing. Then they summarize the movie's premise: a K-pop girl group, called Huntrix, whose members are secretly demon hunters using music to protect the world from dark forces. (6:56) Alyssa introduces the three heroines and members of Huntrix: Rumi, Zoey, and Mira. The conversation shifts to the movie's use of the word “demons” and what they symbolize. The priests explain that these characters aren't really demons as understood in the Catholic faith, but rather human souls consumed by shame and lies—a reflection of the spiritual struggles we all face.(11:46) Alyssa tells us about the film's rival boy band, the Saja Boys, who are actually demons in disguise sent to thwart the efforts of the Huntrix group. She reveals that Rumi is actually part demon herself, something she hides from her fellow bandmates. (16:03) The hosts unpack some of the movie's moral themes, especially the temptation to believe lies and hide our flaws. They compare Rumi's journey to the Christian call to reject shame and embrace truth. (20:52) Alyssa and our hosts share their “seeds of the word” ratings for the film, based on how clearly they saw goodness, truth, and beauty reflected in the story. The episode concludes with the group highlighting some favorite moments, including a ghost tiger's slapstick antics and the irresistibly catchy “Soda Pop” number.

After their great victory at Inchon, UN forces race north toward the Chinese border, dreaming of ending the war fast. But, they ignore the warning signs coming from China... In this episode, that gamble backfires. We detail the chilling reality of late 1950 when hundreds of thousands of Chinese troops launch a massive, counter-offensive. The UN forces are caught completely by surprise by the overwhelming attack and the brutal Korean winter. The episode covers the desperate fight and retreat and the devastating consequence: UN forces are pushed back and the loss Seoul for a second time. As the war spirals out of control and he pushes for escalation, the political fallout leads directly to President Truman's dramatic sacking of the commanding General, Douglas MacArthur. The conflict has now exploded into a terrifying new war with no end in sight. If you have any thoughts or questions, you can send them to - podbattleground@gmail.com Producer: James Hodgson X (Twitter): @PodBattleground Learn more about your ad choices. Visit podcastchoices.com/adchoices

Comedian Beth Stelling gets us fantasizing about tall Belgian bodybuilders who throw tables to let their feelings out. It's 100 degrees out and the Korean soft porn is on ... let's get petty!Go to Beth's upcoming show! (Fri Nov 21 / Sat Nov 22)Or Ceara's! (Sun Nov 16)Petty Crimes is hosted by Ceara Jane O'Sullivan and Griff Stark-EnnisHave a crime that should be heard in Petty Crimes Court? Submit it at pettycrimespodcast@gmail.comKeep up with us on Instagram and TikTok for crime evidence, events, BTS, and other petty bullsh*t…This episode was produced and edited by Riley MadinceaSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

learn to casually describe an event

learn to casually describe an event

learn to casually describe an event

Yorgos Lanthimos has a new movie dropping and this time Emma Stone isn't naked. Bugonia is a solid flick that relies heavily on the actors and light on the plot, so much so I was interested in how the movie interested me so much. Jesse Plemmons plays Teddy, a tin foil hat guy who listens to too much Joe Rogan and is convinced Michelle (Stone) is an alien who wants to eliminate the human race, one bee colony at a time. Is Teddy nuts or is Michelle not who the world thinks she is? Lanthimos delivers the goods with this remake of a 2003 Korean flick that had me guessing till the end.If you're not doing so already, please like and follow Classic American Movies on Instagram and Facebook. I do free movie giveaways, mini movie reviews and more! Also, I decided to dabble in making my own slasher film called “Bishop's Day”. Check out the Instagram page for updates.

In this episode Rachel and Simon speak to the American novelist Susan Choi. Born in Indiana to a Korean father and Jewish mother, Susan is the author of six novels: "The Foreign Student" (1998), "American Woman" (2003), "A Person of Interest" (2008), "My Education" (2013), "Trust Exercise" (2019) and "Flashlight" (2025). In 2004 "American Woman" was a finalist for the Pulitzer Prize and in 2019 "Trust Exercise" won the National Book Award for Fiction. (It was also a bestseller in America and picked by Barack Obama as one of his books of the year.) "Flashlight" was shortlisted for this year's Booker Prize. We spoke to Susan about working as a fact-checker at the New Yorker, the role of literary prizes and about turning "Flashlight" from a short story into a novel.  In addition to the standard audio format, the podcast is now available in video. You can check us out on YouTube under Always Take Notes.  We've made another update for those ⁠⁠⁠⁠⁠⁠⁠⁠who support the podcast on the crowdfunding site Patreon⁠⁠⁠⁠⁠⁠⁠⁠. We've added 40 pages of new material to the package of successful article pitches that goes to anyone who supports the show with $5 per month or more, including new pitches to the New York Times, the Washington Post and the BBC. The whole compendium now runs to a whopping 160 pages. For Patreons who contribute $10/month we're now also releasing bonus mini-episodes. Thanks to our sponsor, Scrivener, the first ten new signs-ups at $10/month will receive a lifelong license to Scrivener worth £55/$59.99 (seven are left). This specialist word-processing software helps you organise long writing projects such as novels, academic papers and even scripts. Other Patreon rewards include signed copies of the podcast book and the opportunity to take part in a monthly call with Simon and Rachel. A new edition of “Always Take Notes: Advice From Some Of The World's Greatest Writers” - a book drawing on our podcast interviews - is available now. The updated version now includes insights from over 100 past guests on the podcast, with new contributions from Harlan Coben, Victoria Hislop, Lee Child, Megan Nolan, Jhumpa Lahiri, Philippa Gregory, Jo Nesbø, Paul Theroux, Hisham Matar and Bettany Hughes. You can order it via ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Waterstones⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hawaii and the rest of the nation are honoring our heroes on this Veterans Day. At the Waikiki Natatorium War Memorial, a moment of silence was held in tribute of the 10,000 Hawaii veterans who served in World War I. The House is set to vote as early as tomorrow afternoon on a measure to fund the government, after the Senate broke the stalemate last night, passing a bill to end the longest government shutdown in American history. And Former President Barack Obama surprised veterans of the Korean and Vietnam Wars when their honor flight landed in Washington, D.C.See omnystudio.com/listener for privacy information.

You know the World Cup is coming soon when we start to see kits release -- and adidas was first to the party with its release of 22 national team home jerseys. On the latest episode of the Urban Pitch Podcast, we discuss the best and worst from the bunch, as well as what we're looking forward to from upcoming releases. Timestamps (02:19) The adidas World Cup home kits -- what worked, what didn't? (26:57) Hot takes: jerseys and crest design (36:40) Wild card shoutouts: Korean fried chicken and getting named to Forty-One Magazine's 41 List! Cast Hosts: Ramsey Abushahla, Julio Monterroza, & Brigitte Flores Producer: Roy Cho Subscribe to our newsletter for more interviews and latest news on street football, freestyle, and urban culture, read more about soccer culture on our website, and follow us on Instagram, Twitter, TikTok, and Facebook. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

What do Property Brothers and this drama have in common? .....weirdly, several things ?......We love a slightly-confusing drama!!! Theory-creating is Elle's kdrama love language, so this is gonna be a fun ride for us here at YA GIRL'S. (Listen through to the end to hear Elle's theory of the century.)....Last Summer is a new kdrama starring THE MAN THE MYTH THE LEGEND, LEE JAE-WOOK (we luv him). It's about..... um..... we kinda don't want to say much because that's the fun of it. Just trust us that he looks great and we think y'all will like it. It has young romance and cute townies and a perfect dog. ....Check out "Last Summer" on Viki!.....If you're new to YA GIRL, we're so glad you're here!! I truly hope you enjoy listening to this podcast! …..Also, check out our sister-pod - THE KDROP: A KPop Podcast - if that's your thing. https://www.instagram.com/the.kdrop_kpop_pod/ ….. Before you do anything else, FOLLOW YA GIRL ON INSTAGRAM! For real, please come and say hey to us over the socials! @yagirl_kdrama pod (⁠⁠https://www.instagram.com/yagirl_kdramapod?igsh=OGQ5ZDc2ODk2ZA%3D%3D&utm_source=qr⁠⁠)….And Christina just started an exclusive BTS instagram, so give that a follow!   https://www.instagram.com/bts_express_the.kdrop?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw== … Finally, jump on  YA GIRL's Discord!! It's where all the friends of YA GIRL gather and talk about hot Korean men. You really don't wanna miss it. ⁠⁠ https://discord.gg/rFmEgTJpJ8

Last time we spoke about the Changsha fire. Chiang Kai-shek faced a brutal choice: defend Wuhan to the last man or flood the land to slow the invaders. He chose both, pushing rivers and rallying a fractured army as Japanese forces pressed along the Yangtze. Fortresses at Madang held long, but the cost was high—troops lost, civilians displaced, a city's heart burning in the night. Wuhan fell after months of brutal fighting, yet the battle did not break China's will. Mao Zedong urged strategy over martyrdom, preferring to drain the enemy and buy time for a broader struggle. The Japanese, though victorious tactically, found their strength ebbing, resource strains, supply gaps, and a war that felt endless. In the wake of Wuhan, Changsha stood next in the Japanese crosshairs, its evacuation and a devastating fire leaving ash and memory in its wake. Behind these prices, political currents swirled. Wang Jingwei defected again, seeking power beyond Chiang's grasp, while Chongqing rose as a western bastion of resistance. The war hardened into a protracted stalemate, turning Japan from an aggressive assailant into a wary occupier, and leaving China to endure, persist, and fight on.   #175  The Soviet-Japanese Border Conflicts Welcome to the Fall and Rise of China Podcast, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about the history of Asia? Kings and Generals have an assortment of episodes on history of asia and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel where I cover the history of China and Japan from the 19th century until the end of the Pacific War. So based on the title of this one, you probably can see we are taking a bit of a detour. For quite some time we have focused on the Japanese campaigns into China proper 1937-1938. Now the way the second sino-japanese war is traditionally broken down is in phases. 1937-1938, 1939-1942 and 1942-1945. However there is actually even more going on in China aside from the war with Japan. In Xinjiang province a large full blown Islamic revolution breaks out in 1937. We will be covering that story at a later date, but another significant event is escalating border skirmishes in Manchukuo. Now these border skirmishes had been raging ever since the USSR consolidated its hold over the far east. We talked about some of those skirmishes prior to the Sino-Soviet war in 1929. However when Japan created the puppet government of Manchukuo, this was a significant escalation in tensions with the reds. Today we are going to talk about the escalating border conflicts between the Soviets and Japan. A tongue of poorly demarcated land extends southeast from Hunchun, hugging the east bank of the Tumen River between Lake Khasan to the east and Korea to the west. Within this tongue stands Changkufeng Hill, one of a long chain of highlands sweeping from upstream along the rivers and moors toward the sea. The twin-peaked hill sits at the confluence area several miles northwest of the point where Manchuria, Korea, and the Russian Far East meet. The hill's shape reminded Koreans of their changgo, which is a long snare drum constricted at the center and tapped with the hands at each end. When the Manchus came to the Tumen, they rendered the phonetic sounds into three ideographic characters meaning "taut drum peaks" or Chang-ku-feng. The Japanese admired the imagery and preserved the Chinese readings, which they pronounce Cho-ko-ho. From their eastern vantage, the Russians called it Zaozernaya, "hill behind the lake." Soviet troops referred to it as a sugar-loaf hill. For many years, natives and a handful of officials in the region cultivated a relaxed attitude toward borders and sovereignty. Even after the Japanese seized Manchuria in 1931, the issue did not immediately come to a head. With the expansion of Manchukuo and the Soviet Far East under Stalin's Five-Year plans, both sides began to attend more closely to frontier delimitation. Whenever either party acted aggressively, force majeure was invoked to justify the unexpected and disruptive events recognized in international law. Most often, these incidents erupted along the eastern Manchurian borders with the USSR or along the 350-mile frontier south of Lake Khanka, each skirmish carrying the seeds of all-out warfare. Now we need to talk a little bit about border history. The borders in question essentially dated to pacts concluded by the Qing dynasty and the Tsardom. Between the first Sino-Russian Treaty of Nerchinsk in 1689 and the Mukden Agreement of 1924, there were over a dozen accords governing the borders. Relevant to Changkufeng were the basic 15-article Convention of Peking, supplementing the Tientsin Treaties of November 1860, some maps made in 1861, and the eight-article Hunchun Border Protocol of 1886. By the 1860 treaty, the Qing ceded to Tsarist Russia the entire maritime province of Siberia, but the meaning of "lands south of Lake Khanka" remained rather vague. Consequently, a further border agreement was negotiated in June 1861 known as "the Lake Khanka Border Pact", by which demarcations were drawn on maps and eight wooden markers erected. The border was to run from Khanka along ridgelines between the Hunchun River and the sea, past Suifenho and Tungning, terminating about 6 miles from the mouth of the Tumen. Then a Russo-Chinese commission established in 1886 drew up the Hunchun Border Pact, proposing new or modified markers along the 1860–1861 lines and arranging a Russian resurvey. However, for the Japanese, in 1938, the Chinese or Manchu texts of the 1886 Hunchun agreement were considered controlling. The Soviets argued the border ran along every summit west of Khasan, thereby granting them jurisdiction over at least the eastern slopes of all elevations, including Changkufeng and Shachaofeng.  Since the Qing dynasty and the house of Romanov were already defunct, the new sovereignties publicly appealed to opposing texts, and the Soviet side would not concede that the Russian-language version had never been deemed binding by the Qing commissioners. Yet, even in 1938, the Japanese knew that only the Chinese text had survived or could be located.    Now both the Chinese and Russian military maps generally drew the frontier along the watershed east of Khasan; this aligned with the 1861 readings based on the Khanka agreement. The Chinese Republican Army conducted new surveys sometime between 1915 and 1920. The latest Chinese military map of the Changkufeng area drew the border considerably closer to the old "red line" of 1886, running west of Khasan but near the shore rather than traversing the highland crests. None of the military delimitations of the border was sanctified by an official agreement. Hence, the Hunchun Protocol, whether well known or not, invaluable or worthless, remained the only government-to-government pact dealing with the frontiers.  Before we jump into it, how about a little summary of what became known as the Soviet-Japanese border conflicts. The first major conflict would obviously be the Russo-Japanese war of 1904-1905. Following years of conflict between the Russian Empire and Japan culminating in the costly Battle of Tsushima, Tsar Nicholas II's government sought peace, recognizing Japan's claims to Korea and agreeing to evacuate Manchuria.  From 1918 to 1920, the Imperial Japanese Army, under Emperor Taishō after the death of Meiji, assisted the White Army and Alexander Kerensky against the Bolshevik Red Army. They also aided the Czechoslovak Legion in Siberia to facilitate its return to Europe after an Austrian-Hungarian armoured train purportedly went astray. By 1920, with Austria-Hungary dissolved and Czechoslovakia established two years earlier, the Czechoslovak Legion reached Europe. Japan withdrew from the Russian Revolution and the Civil War in 1922. Following Japan's 1919-1920 occupations and the Soviet intervention in Mongolia in 1921, the Republic of China also withdrew from Outer Mongolia in 1921. In 1922, after capturing Vladivostok in 1918 to halt Bolshevik advances, Japanese forces retreated to Japan as Bolshevik power grew and the postwar fatigue among combatants increased. After Hirohito's invasion of Manchuria in 1931–1932, following Taishō's death in 1926, border disputes between Manchukuo, the Mongolian People's Republic, and the Soviet Union increased. Many clashes stemmed from poorly defined borders, though some involved espionage. Between 1932 and 1934, the Imperial Japanese Army reported 152 border disputes, largely tied to Soviet intelligence activity in Manchuria, while the Soviets accused Japan of 15 border violations, six air intrusions, and 20 cases of "spy smuggling" in 1933 alone. Numerous additional violations followed in the ensuing years. By the mid-1930s, Soviet-Japanese diplomacy and trust had deteriorated further, with the Japanese being openly labeled "fascist enemies" at the Seventh Comintern Congress in July 1935. Beginning in 1935, conflicts significantly escalated. On 8 January 1935, the first armed clash, known as the Halhamiao incident, took place on the border between Mongolia and Manchukuo. Several dozen cavalrymen of the Mongolian People's Army crossed into Manchuria near disputed fishing grounds and engaged an 11‑man Manchukuo Imperial Army patrol near the Buddhist temple at Halhamiao, led by a Japanese military advisor. The Manchukuo Army sustained 6 wounded and 2 dead, including the Japanese officer; the Mongols suffered no casualties and withdrew after the Japanese sent a punitive expedition to reclaim the area. Two motorized cavalry companies, a machine‑gun company, and a tankette platoon occupied the position for three weeks without resistance. In June 1935, the first direct exchange of fire between the Japanese and Soviets occurred when an 11‑man Japanese patrol west of Lake Khanka was attacked by six Soviet horsemen, reportedly inside Manchukuo territory. In the firefight, one Soviet soldier was killed and two horses were captured. The Japanese requested a joint investigation, but the Soviets rejected the proposal. In October 1935, nine Japanese and 32 Manchukuoan border guards were establishing a post about 20 kilometers north of Suifenho when they were attacked by 50 Soviet soldiers. The Soviets opened fire with rifles and five heavy machine guns. Two Japanese and four Manchukuoan soldiers were killed, and another five were wounded. The Manchukuoan foreign affairs representative lodged a verbal protest with the Soviet consul at Suifenho. The Kwantung Army of Japan also sent an intelligence officer to investigate the clash. On 19 December 1935, a Manchukuoan unit reconnoitering southwest of Buir Lake clashed with a Mongolian party, reportedly capturing 10 soldiers. Five days later, 60 truck‑borne Mongolian troops assaulted the Manchukuoans and were repulsed, at the cost of three Manchukuoan dead. On the same day, at Brunders, Mongolian forces attempted three times to drive out Manchukuoan outposts, and again at night, but all attempts failed. Further small attempts occurred in January, with Mongolians using airplanes for reconnaissance. The arrival of a small Japanese force in three trucks helped foil these attempts; casualties occurred on both sides, though Mongolian casualties are unknown aside from 10 prisoners taken. In February 1936, Lieutenant-Colonel Sugimoto Yasuo was ordered to form a detachment from the 14th Cavalry Regiment to "drive the Outer Mongol intruders from the Olankhuduk region," a directive attributed to Lieutenant-General Kasai Heijuro. Sugimoto's detachment included cavalry guns, heavy machine guns, and tankettes. They faced a force of about 140 Mongolians equipped with heavy machine guns and light artillery. On February 12, Sugimoto's men drove the Mongolians south, at the cost of eight Japanese killed, four wounded, and one tankette destroyed. The Japanese began to withdraw, but were attacked by 5–6 Mongolian armored cars and two bombers, which briefly disrupted the column. The situation was stabilized when the Japanese unit received artillery support, allowing them to destroy or repel the armored cars. In March 1936, the Tauran incident occurred. In this clash, both the Japanese Army and the Mongolian Army deployed a small number of armored fighting vehicles and aircraft. The incident began when 100 Mongolian and six Soviet troops attacked and occupied the disputed village of Tauran, Mongolia, driving off the small Manchurian garrison. They were supported by light bombers and armored cars, though the bombing sorties failed to inflict damage on the Japanese, and three bombers were shot down by Japanese heavy machine guns. Local Japanese forces counter-attacked, conducting dozens of bombing sorties and finally assaulting Tauran with 400 men and 10 tankettes. The result was a Mongolian rout, with 56 Mongolian soldiers killed, including three Soviet advisors, and an unknown number wounded. Japanese losses were 27 killed and 9 wounded. Later in March 1936, another border clash occurred between Japanese and Soviet forces. Reports of border violations prompted the Japanese Korean Army to send ten men by truck to investigate, but the patrol was ambushed by 20 Soviet NKVD soldiers deployed about 300 meters inside territory claimed by Japan. After suffering several casualties, the Japanese patrol withdrew and was reinforced with 100 men, who then drove off the Soviets. Fighting resumed later that day when the NKVD brought reinforcements. By nightfall, the fighting had ceased and both sides had pulled back. The Soviets agreed to return the bodies of two Japanese soldiers who had died in the fighting, a development viewed by the Japanese government as encouraging. In early April 1936, three Japanese soldiers were killed near Suifenho in another minor affray. This incident was notable because the Soviets again returned the bodies of the fallen servicemen. In June 1937, the Kanchazu Island incident occurred on the Amur River along the Soviet–Manchukuo border. Three Soviet gunboats crossed the river's center line, disembarked troops, and occupied Kanchazu Island. Japanese forces from the IJA 1st Division, equipped with two horse-drawn 37 mm artillery pieces, quickly established improvised firing positions and loaded their guns with both high-explosive and armor-piercing shells. They shelled the Soviet vessels, sinking the lead gunboat, crippling the second, and driving off the third. Japanese troops subsequently fired on the swimming crewmen from the sunken ships using machine guns. Thirty-seven Soviet soldiers were killed, while Japanese casualties were zero. The Japanese Ministry of Foreign Affairs protested and demanded the Soviet forces withdraw from the island. The Soviet leadership, apparently shocked by the incident and reluctant to escalate, agreed to evacuate their troops. By 1938 the border situation had deteriorated. The tangled terrain features, mountain, bog, stream, forest, and valley, would have complicated even careful observers' discernment of the old red line drawn in 1886. Fifty years later, the markers themselves had undergone a metamorphosis. Japanese investigators could find, at most, only 14 to 17 markers standing fairly intact between the Tumen estuary and Khanka—roughly one every 25 miles at best. The remainder were missing or ruined; five were found in new locations. Marker "K," for example, was 40 meters deeper inside Manchuria, away from Khanka. Japanese military experts noted that of the 20 markers originally set along the boundaries of Hunchun Prefecture alone, only four could be found by the summer of 1938. The rest had either been wrecked or arbitrarily moved and discarded by Russian or Chinese officials and inhabitants. It is even said that one missing marker could be seen on display in Khabarovsk. The Chinese had generally interpreted the boundary as the road line just west of Khasan, at least in practice. Free road movement, however, had become a problem even 20 years before the Japanese overran Manchuria in 1931–1932 during the so-called Manchurian Incident. The Japanese adopted, or inherited, the Chinese interpretation, which was based on the 1886 agreement on border roads; the key clause held that the frontier west of Khasan would be the road along the lake. Japanese sources emphasize that local residents' anger toward gradual Soviet oppression and penetrations westward into Manchurian territory fueled the conflict. Many natives believed the original boundaries lay east of the lake, but the Soviets adjusted the situation to suit their own convenience. In practice, the Russians were restricting road use just west of Khasan by Manchurian and Korean residents. There was speculation that this was a prelude to taking over the ridgelines, depending on the reaction of the Manchukuoan–Japanese side. Villagers who went to streams or the lake to launder clothing found themselves subjected to sniper fire. Along a 25-mile stretch of road near Shachaofeng, farmers reported coming under fire from new Soviet positions as early as November 1935. Nevertheless, Japanese and Koreans familiar with the Tumen area noted agrarian, seasonal Korean religious rites atop Changkufeng Hill, including fattened pigs sacrificed and changgo drums beaten. Village elders told Japanese visitors in 1938 that, until early the preceding year, no Russians had come as far as Changkufeng Hill. Looking only at the border sector around Changkufeng, the easy days were clearly behind us. In the summer of 1938, Gaimusho "Foreign Ministry" observers described the explosive situation along the Korea–Manchuria–USSR borders as a matter of de facto frontiers. Both sides pressed against each other, and their trigger-happy posture was summed up in the colloquial refrain: "Take another step and we'll let you have it." Near dawn on 13 June 1938, a Manchurian patrol detected a suspicious figure in the fog swirling over Changlingtzu Hill on the Siberian–Manchurian frontier. Challenged at 15 feet, the suspect hurled two pistols to the ground and raised his hands in surrender. At headquarters, the police soon realized this was no routine border-trespassing case. The man was a defector and he was a Russian general, in fact he was the director of all NKVD forces in the Soviet Far East. Beneath a mufti of spring coat and hunting cap, he wore a full uniform with medals. His identification card No. 83 designated him as G. S. Lyushkov, Commissar 3rd Class, countersigned by Nikolai Yezhov, NKVD head in Moscow. Lyushkov was promptly turned over to the Japanese military authorities, who transferred him to Seoul and then to Tokyo under close escort. On 1 July, the Japanese press was permitted to disclose that Lyushkov had sought refuge in Japan. Ten days later, to capitalize on the commissar's notoriety and to confound skeptics, the Japanese produced Lyushkov at a press conference in Tokyo. For the Japanese and foreign correspondents, who met separately with him, Lyushkov described Soviet Far East strength and the turmoil wracking the USSR, because for those of you unfamiliar this was during the Stalinist purges. Clearly, the Japanese had gained a unique reservoir of high-level intelligence and a wealth of materials, including notes scratched in blood by suspects incarcerated at Khabarovsk. A general tightening of Russian frontier security had recently been reported. Natives of Fangchuanting asserted that a Soviet cavalry patrol appeared in June, seemingly for the first time. Contact with Yangkuanping, northwest of Khasan, was severed. More importantly, Japanese Army Signal Corps intelligence detected a surge of Soviet message traffic from the Posyet Bay district. After Lyushkov's defection, a drastic reshuffle in the local Russian command apparently occurred, and responsibility for border surveillance seems to have been reallocated. Japanese records indicate that the Novokievsk security force commander was relieved and the sector garrison replaced by troops from Vladivostok. Gaimusho intelligence also received reports that a border garrison unit had been transferred from Khabarovsk or Chita to the Tumen sector. The Kwantung Army signal monitors also intercepted two significant frontline messages on 6 July from the new Russian local commander in the Posyet region, addressed to Lieutenant General Sokolov in Khabarovsk. Decoded, the messages suggested (1) that ammunition for infantry mortars amounted to less than half the required supply; and  (2) a recommendation that higher headquarters authorize Russian elements to secure certain unoccupied high ground west of Khasan.  The commander noted terrain advantages and the contemplated construction of emplacements that would command Najin and the Korean railway. As a start, at least one Russian platoon should be authorized to dig in on the highest ground (presumably Changkufeng) and deploy four tons of entanglements to stake out the Soviet claim. Korea Army Headquarters received a telegram from the Kwantung Army on 7 July conveying the deciphered messages. On the same day, the 19th Division in North Korea telephoned Seoul that, on 6 July, three or four Soviet horsemen had been observed reconnoitering Manchurian territory from atop a hill called Changkufeng. The alarming intelligence from the Kwantung Army and the front warranted immediate attention by the Korea Army. Some Kwantung Army officers doubted the significance of the developments, with one intelligence official even suggesting the Russian messages might be a deliberate ploy designed to entrap the Japanese at Changkufeng. On 7–8 July, all staff officers in Seoul convened at army headquarters. The name of Changkufeng Hill was not well known, but maps and other data suggested that neither the Japanese nor the Russians had previously stationed border units in the ridge complex west of Khasan. As early as March 1936, Army Commander Koiso Kuniaki had distributed maps to subordinate units, indicating which sectors were in dispute. No patrol was to enter zones lacking definitive demarcation. Until then, the only Japanese element east of the Tumen was a Manchurian policeman at Fangchuanting. Ownership of the high ground emerged as an early issue. A number of other points were raised by  the Kwantung Army: At present, Soviet elements in the area were negligible. The intrusion must not be overlooked. The Russians could be expected to exploit any weakness, and half-measures would not suffice, especially regarding the Japanese defense mission along a 125-mile frontier. In Japanese hands, Changkufeng Hill would be useful, but two excellent observation posts already existed in the neighboring sector of the Manchurian tongue. With dissidence and purges underway, the Russians may have judged it necessary to seal border gaps, particularly after Lyushkov's defection. They may also have sought to control Changkufeng to offset Japanese dominance of the high ground to the north. Soviet seizure of Changkufeng would upset the delicate status quo and could provoke a contest for equivalent observation posts. In broader terms, it mattered little whether the Russians sought a permanent observation post on Changkufeng Hill, which was of relatively minor strategic value. Japan's primary concern lay in the China theater; Changkufeng was peripheral. The Japanese should not expend limited resources or become distracted. The matter required consultation with the high command in Tokyo. In the absence of more comprehensive intelligence, the assembled staff officers concluded that the Korea Army should, at a minimum, ignore or disregard Soviet actions for the time being, while maintaining vigilant observation of the area. The consensus was communicated to Major General Kitano Kenzo, the Korea Army chief of staff, who concurred, and to Koiso. Upon learning that the recommendation advocated a low posture, Koiso inquired only whether the opinion reflected the unanimous view of the staff. Having been assured that it did, he approved the policy. Koiso, then 58, was at the threshold of the routine personnel changes occurring around 15 July. He had just been informed that he would retire and that General Nakamura Kotaro would succeed him. Those acquainted with Koiso perceived him as treating the border difficulties as a minor anticlimax in the course of his command tour. He appeared unemphatic or relaxed as he prepared to depart from a post he had held for twenty-one years. Although neither Koiso nor his staff welcomed the Soviet activities that appeared under way, his reaction likely reflected a reluctance to make decisions that could constrain his soon-to-arrive successor. On 8 July Koiso authorized the dispatch of warnings to the 19th Division at Nanam, to the Hunchun garrison, and to the intelligence branch at Hunchun. These units were instructed to exercise maximum precautions and to tighten frontier security north of Shuiliufeng. In response to the initial appearance of Soviet horsemen at Changkufeng, the Kucheng Border Garrison Unit of the 76th Infantry Regiment maintained close surveillance across the Tumen. By about noon on 9 July, patrols detected approximately a dozen Russian troops commencing construction atop Changkufeng. Between 11 and 13 July, the number of soldiers on the slopes increased to forty; there were also thirty horses and eleven camouflaged tents. Operating in shifts on the western side, thirty meters from the crest, the Russians erected barbed wire and firing trenches; fifty meters forward, they excavated observation trenches. In addition to existing telephone lines between Changkufeng, Lake Khasan, and Kozando, the Russians installed a portable telephone net. Logistical support was provided by three boats on the lake. Approximately twenty kilometers to the east, well within Soviet territory, large forces were being mobilized, and steamship traffic into Posyet Bay intensified. Upon learning of the "intrusion" at Changkufeng on 9 July, Lt. General Suetaka Kamezo, the commander of the 19th Division, dispatched staff officers to the front and prepared to send elements to reinforce border units.  The special significance of Suetaka and his division stemmed from a series of unusual circumstances. Chientao Province, the same zone into which Lyushkov had fled and the sector where Soviet horsemen had appeared, fell within Manchukuo geographically and administratively. Yet, in terms of defense, the configuration of the frontier, the terrain, and the transportation network more closely connected the region with North Korea than with southeastern Manchuria. Approximately 80% of the population was of Korean origin, which implied Japanese rather than Manchukuoan allegiance. Consequently, the Korea Army had been made operationally responsible for the defense of Chientao and controlled not only the three-battalion garrison at Hunchun but also the intelligence detachment located there. In the event of war, the Korea Army's mission was defined as mobilization and execution of subsidiary operational tasks against the USSR, under the control and in support of the Kwantung Army.  The Korea Army ordinarily possessed two infantry divisions, the 19th in North Korea and the 20th stationed at Seoul, but the 20th Division had already departed for China, leaving only the 20th Depot Division in the capital. Beyond sparse ground units, devoid of armor and with weak heavy artillery, there were only two air regiments in Korea, the nearest being the unit at Hoeryong. The Korea Army was designed to maintain public security within Korea as well as fulfill minimal defensive responsibilities. Such an army did not require a full-time operations officer, and none was maintained. When needed, as in mid-1938, the task fell to the senior staff officer, in this case Colonel Iwasaki Tamio. In peacetime, training constituted the primary focus.  Thus, the 19th Division was entrusted with defending northeastern Korea. Its commander, Suetaka, a seasoned infantryman, resented the fact that his elite force had never engaged in combat in China. He intensified training with zeal, emphasizing strict discipline, bravery, aggressiveness, and thorough preparation. Japanese veterans characterized him as severe, bullish, short-tempered, hot-blooded, highly strung, unbending, and stubborn. Nonetheless, there was widespread respect for his realistic training program, maintained under firm, even violent, personal supervision. His men regarded Suetaka as a professional, a modern samurai who forged the division into superb condition. Privately, he was reputed for sensitivity and warmth; a Japanese phrase "yakamashii oyaji" captures the dual sense of stern father and martinet in his character. At the outset, however, Suetaka displayed little aggression. Although not widely known, he did not welcome the orders from army headquarters to deploy to the Tumen. Until late July, he remained somewhat opposed to the notion of dislodging the Soviets from the crest, a proposition arising from neither the division staff nor, initially, Suetaka himself. Colonel Sato noted that, for a week after reports of Soviet excavation at Changkufeng, the division's response was limited to preparations for a possible emergency, as they perceived the matter as a local issue best settled through diplomacy. Korea Army officers acknowledged that, around the time the Soviets consolidated their outpost strength at Changkufeng, an informal and personal telegram arrived in Seoul from a Kwantung Army Intelligence field-grade officer who specialized in Soviet affairs. If the Korea Army hesitated, the Kwantung Army would be obliged to eject the Russians; the matter could not be ignored. While the telegram did not demand a reply and struck several officers as presumptuous and implausible, the message was promptly shown to Koiso. Koiso was driven to immediate action, he wired Tokyo asserting that only the Korea Army could and would handle the incident. One staff officer recalled "We felt we had to act, out of a sense of responsibility. But we resented the Kwantung Army's interference." The Korea Army staff convened shortly after receipt of the unofficial telegram from Hsinking. Based on the latest intelligence from the division dated 13 July, the officers prepared an assessment for submission to the army commander. The hypotheses were distilled into three scenarios: The USSR, or the Far East authorities, desires hostilities. Conclusion: Slightly possible. The USSR seeks to restrain Japan on the eve of the pivotal operations in China: the major Japanese offensive to seize Hankow. Conclusion: Highly probable. The Posyet district commander is new in his post; by occupying the Changkufeng ridges, he would demonstrate loyalty, impress superiors, and seek glory. Conclusion: Possible. Late on 13 July or early on 14 July, Koiso approved the dispatch of a message to the vice minister of war, and the Kwantung Army chief of staff:  "Lake Khasan area lies in troublesome sector USSR has been claiming . . . in accordance with treaties [said Secret Message No. 913], but we interpret it to be Manchukuoan territory, evident even from maps published by Soviet side. Russian actions are patently illegal, but, considering that area does not exert major or immediate influence on operations [Japan] is intending and that China Incident is in full swing, we are not going to conduct counterattack measures immediately. This army is thinking of reasoning with Soviets and requesting pullback, directly on spot. . . . In case Russians do not accede in long run, we have intention to drive Soviet soldiers out of area east of Khasan firmly by use of force."  The message concluded with a request that the Tokyo authorities lodge a formal protest with the USSR, on behalf of Manchukuo and Japan, and guide matters so that the Russians would withdraw quickly. Dominant in Japanese high command thinking in 1938 was the China theater; the Changkufeng episode constituted a mere digression. A sequence of Japanese tactical victories had preceded the summer: Tsingtao fell in January; the Yellow River was reached in March; a "reformed government of the Republic of China" was installed at Nanking several weeks later; Amoy fell in early May; Suchow fell on the 20th. With these gains, northern and central fronts could be linked by the Japanese. Yet Chinese resistance persisted, and while public statements anticipated imminent Chinese dissension, private admissions acknowledged that the partial effects of Suchow's fall were ominous: control might pass from Chiang Kai-shek to the Communists, Chinese defiance might intensify, and Soviet involvement could ensue. A Hankow drive appeared desirable to symbolize the conclusion of the military phase of hostilities. The Japanese and their adversaries were in accord regarding the importance of the summer and autumn campaigns. Even after Suchow's fall, the government discouraged public insinuations that enemy resistance was collapsing; when Chiang addressed the nation on the first anniversary of hostilities, Premier Konoe prophetically proclaimed, "The war has just begun." Colonel Inada Masazum served as the Army General Staff's principal figure for the Changkufeng affair, occupying the position of chief of the 2nd Operations Section within the Operations Bureau in March 1938. A distinguished graduate of the Military Academy, Inada completed the War College program and held a combination of line, instructional, and staff assignments at the War College, the Army General Staff, and the War Ministry. He was recognized as a sharp, highly capable, and driveful personality, though some regarded him as enigmatic. Following the capture of Suchow, Imperial General Headquarters on 18 June ordered field forces to undertake operational preparations for a drive to seize the Wuhan complex. Inada favored a decisive move aimed at achieving a rapid political settlement. He acknowledged that Soviet intervention in 1938, during Japan's involvement in China, would have been critical. Although Japanese forces could still defeat the Chinese, an overextended Japanese Army might be fatally compromised against the Russians. Soviet assistance to China was already pronouncedly unwelcome. The Soviets were reported to possess roughly 20 rifle divisions, four to five cavalry divisions, 1,500 tanks, and 1,560 aircraft, including 300 bombers with a range of approximately 3,000 kilometers, enabling reach from Vladivostok to Tokyo. Soviet manpower in Siberia was likely near 370,000. In response, Japanese central authorities stressed a no-trouble policy toward the USSR while seeking to "wall off" the border and bolster the Kwantung Army as quickly as possible. Nevertheless, the envisaged correction of the strategic imbalance could not occur before 1943, given shortages in ammunition, manpower, and materiel across existing theaters in China. By the end of 1937 Japan had committed 16 of its 24 divisions to China, bringing the standing force to roughly 700,000. Army General Staff planners reallocated three ground divisions, intended for a northern contingency, from north to central China, even as the Kwantung Army operated from a less favorable posture. Attitudes toward the northern problem varied within senior military circles. While concern persisted, it was not universal. As campaigns in China widened, planning at the high command level deteriorated, propagating confusion and anxiety to field armies in China. The Japanese Navy suspected that the Army general staff was invoking the USSR as a pretext for broader strategic aims—namely, to provoke a more consequential confrontation with the USSR while the Navy contended with its own strategic rivalries with the Army, centered on the United States and Britain. Army leaders, however, denied aggressive intent against the USSR at that time. The Hankow plan encountered substantial internal opposition at high levels. Private assessments among army planners suggested that a two-front war would be premature given operational readiness and troop strength. Not only were new War Ministry officials cautious, but many high-ranking Army general staff officers and court circles shared doubts.  Aggressive tendencies, influenced by subordinates and the Kwantung Army, were evident in Inada, who repeatedly pressed Tada Shun, the deputy army chief of staff, to endorse the Wuhan drive as both necessary and feasible, arguing that the USSR would gain from Japan's weakening without incurring substantial losses. Inada contended that Stalin was rational and that time favored the USSR in the Far East, where industrial buildup and military modernization were ongoing. He argued that the Soviet purges impeded opportunistic ventures with Japan. He posited that Nazi Germany posed a growing threat on the western front, and thus the USSR should be avoided by both Japan, due to China and Russia, due to Germany. While most of the army remained engaged in China, Tada did not initially share Inada's views; only after inspecting the Manchurian borders in April 1938 did he finally align with Inada's broader vision, which encompassed both northern and Chinese considerations. During this period, Inada studied daily intelligence from the Kwantung Army, and after Lyushkov's defection in June, reports suggested the Soviets were following their sector commander's recommendations. Russian troops appeared at Changkufeng, seemingly prepared to dig in. Inada recollects his reaction: "That's nice, my chance has come." I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me. The simmering Soviet–Japanese border clashes centered on Changkufeng Hill near Lake Khanka, set within a broader history of contested frontiers dating to Qing and Tsarist treaties. Japan, prioritizing China, considered Changkufeng peripheral but ready to confront Soviet encroachment; Moscow aimed to consolidate border gains, with high-level war planning overlaying regional skirmishes. Conflict loomed over Manchuria.

Get every episode of The Dumb Zone by subscribing at DumbZone.com or Patreon.com/TheDumbZoneThe Cowboys made a mid-season trade, which are normally reserved for teams trying to make a run in the playoffs. The Cowboys will be lucky to make them. Plus, Trump on an NFL broadcast, Hooters is back, and a weekend check featuring Korean ice cream (00:00) - Open: Weekend check (51:00) - Sports: Bleak playoff odds for Cowboys (01:18:39) - Around the NFL: Week 10 (01:51:06) - Things that are back: Hooters (02:00:25) - News: Ken Paxton vs. Dallas Stars (02:25:55) - VM birthdays/Today in History ★ Support this podcast on Patreon ★

Today Justin talks with Dr. Brad Williams. Brad is an associate professor in the Department of Asian and International Studies at the City University of Hong Kong. He has studied, taught and conducted research in Australia, Japan, Singapore, Hong Kong, Myanmar, Taiwan, and the United States. He is the author of Resolving the Russo-Japanese Territorial Dispute, which was published in 2007 and has published on a diverse range of issues in Japanese politics and foreign policy such as arms procurement, civil society, humanitarian assistance, human security, north Korean abductions, nuclear proliferation and secrecy laws. He's here today to discuss the development of Japan's counterintelligence community from the immediate aftermath of World War II up through the early 2020s.Connect with Brad:scholars.cityu.edu.hk/en/persons/bwilliam/Check out the book, Japanese Foreign Intelligence and Grand Strategy: From the Cold War to the Abe Era, here.https://a.co/d/e4ohfPVConnect with Spycraft 101:Get Justin's latest book, Murder, Intrigue, and Conspiracy: Stories from the Cold War and Beyond, here.spycraft101.comIG: @spycraft101Shop: shop.spycraft101.comPatreon: Spycraft 101Subtack: spycraft101.substack.comFind Justin's first book, Spyshots: Volume One, here.Check out Justin's second book, Covert Arms, here.Download the free eBook, The Clandestine Operative's Sidearm of Choice, here.Support the show

learn how to say 'practice' in Korean

Crank it up to 11 and get ready to shred! Jay and Shua celebrate 20 years of Guitar Hero with stories, riffs, and a few laughs as they plug into one of the most rockin' video game franchises of all time. Whether you're a master of the whammy bar or still fumbling through "Smoke on the Water," this week's show will have you tapping your foot, and raising your horns.   News Steven Spielberg and John Williams reunite for their 30th movie collaboration For collectors ready to assemble, LEGO drops a brand-new Iron Man set    Check out our TeePublic store for some enjoyable swag and all the latest fashion trends What we're Enjoying Shua discovered a step above ASMR with the YouTube channel Kirin Camp. A Korean woman that goes around campsites and shares her experiences with anyone who can't take their eyes off of it. Jay revisited some of Quentin Tarantino's cinematic masterpieces, diving back into Jackie Brown and Once Upon a Time in Hollywood. He reflects on Tarantino's storytelling style, soundtrack genius, and how the director's work still oozes cool decades later.     Sci-Fi Saturdays -  This week on Sci-Fi Saturdays Jay doesn't exactly find a flux capacitor in the movie Project Almanac (2015), but they try their best. It's a time-travel flick that mixes found footage with teenage ambition. He breaks down how this film fits into the long line of time-twisting adventures and explores what makes it a somewhat inventive entry in the genre. Read his article on RetroZap.com.  And make sure to play around with the interactive map on MCULocationScout.com. Plus, you can tune in to SHIELD: Case Files where Jay and Shua talk about great stuff in the MCU.   Enjoy Shredding!  Grab your pick and put on your best Rock 'n Roll face as Jay and Shua dive into the world of Guitar Hero, the game that turned anyone with a PlayStation 2 and a dream into a living room legend. From the early days the button-smashing chaos of Guitar Hero Live, the guys explore what made this franchise a cultural phenomenon.   They debate the best tracks, celebrate their favorite moments, and even imagine a new kind of game, Guitar Hero: Movie Heroes, featuring icons from Wayne's World, Almost Famous, The Blues Brothers, and more. Plus, stay tuned for the "Name That Riff: Guitar Hero Style" challenge that'll test your knowledge of face-melting solos and classic riffs. And we try to figure out what the real name of some of the most famous shredders.  What's your best jam on Guitar Hero? Which movie rockers would be perfect on a Guitar Hero game? Let us know! First person that emails me with the subject line, "This bat tastes like chicken" will get a special mention on the show.  Let us know. Come talk to us in the Discord channel or send us an email to EnjoyStuff@RetroZap.com 

Today's episode includes: •   Lionsgate released the teaser trailer of Michael (2026) •   New information revealed about the upcoming Animation Lookback: Blue Sky Studios •   Jennifer Lawrence, Emma Stone and Cole Escola are making a Miss Piggy movie •   Korean animation studio RedRover to produce K-Pop animated movie and The Nut Job 3 •   Coca-Cola faces backlash for using AI for their holiday commercial for the second year in a row

Follow David on IG: @DavidSoComedy If you want to support the show, and get all the episodes ad-free go to: https://geniusbrain.supercast.com/  To watch the GeniusBrain podcast on YouTube go to: https://bit.ly/GeniusBrainYouTube Don't forget to subscribe to the podcast for free wherever you're listening or by using this link: https://bit.ly/GeniusBrainPod Learn more about your ad choices. Visit podcastchoices.com/adchoices

From 'oppa' to 'ajumma': How honorifics shape K-drama진행자: 홍유, Tannith Kriel기사요약: 로맨스의 설렘부터 세대 간 긴장까지, 한국어에서 호칭 한마디는 관계의 위계와 거리감을 그대로 비춘다. 이 미묘한 호칭 문화를 이해해야 장면 속 진짜 의미가 보인다.[1] If you're a K-drama fan, chances are you've come across the world of Korean honorifics -- those small yet powerful words that can define entire relationships.honorifics: 상대에 대한 존중, 나이·지위·관계를 반영해 쓰는 높임 표현 또는 호칭[2] In a language built around relationships, these titles, from "oppa" and "eonni" to "seonbae" and "hubae," serve as emotional cues that drive storytelling and shape character dynamics in ways that English subtitles cannot replicate.emotional cues: 감정 상태나 분위기 변화를 암시하는 언어적·비언어적 신호dynamics: 인물 간 관계의 상호작용과 변화하는 힘의 흐름[3] Here, we explore some of the most commonly used terms that shape the subtle subtext of K-drama storytelling.subtle: 겉으로 드러나지 않지만 섬세하고 미묘한subtext: 직접 말하지 않고 숨겨진 의미나 의도, 장면 밑에 흐르는 메시지[4]Take "oppa," perhaps one of the most well-known terms in all of Korean pop culture. Literally meaning “older brother,” it's used by women to address older men -- from actual siblings to boyfriends and close male friends. In dramas, when a woman suddenly starts calling a man oppa instead of his name, it usually signals that the emotional stakes have changed. It's shorthand for romantic tension. Think "My Demon" or "Reply 1997" -- that single word can alter the emotional flow of the story.emotional stakes: 감정적으로 걸려 있는 이해관계·위험도, 감정적 긴장도shorthand: 복잡한 감정이나 의미를 단어·표현 하나로 간단히 전달하는 장치기사원문: https://www.koreaherald.com/article/10606781

EXO's New Lineup Sparks Scathing Reactions From Korean Netizens.

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Husky voice, Friday night whiskey, and a mountain of cheese from the book launch. In this episode I lift the lid on what really happens inside a print judging room. The rotation of five from a pool of seven. Silent scoring so no one nudges anyone else. How a challenge works, what the chair actually does, and why we start with impact, dive through craft, then finish on impact again to see what survives. Layout over composition, light as the whole game, and a final re-rank that flattens time drift so the right image actually wins. If you enjoy a peek behind the curtain, you will like this one. You can grab a signed copy of the new Mastering Portrait Photography at masteringportraitphotography.com and yes, I will scribble in it. If you already have the book, a quick Amazon review helps more than you know. Fancy sharpening your craft in person? Check the workshops page for new dates and come play with light at the studio.  The book: https://masteringportraitphotography.com/resource/signed-copy-mastering-portrait-photography-new-edition/ Workshops: https://masteringportraitphotography.com/workshops-and-mentoring/   Transcript [00:00:00]  Hey, one and all. How are you doing? Now? I'll be honest, I still have the remnants of a cold, and if you can hear that in my voice, I do apologize, I suppose you could call it slightly bluesy, but you can definitely hear that I'm ever so slightly husky. It's Friday night, it's eight 30, and I was, I've been waiting a week to record this podcast, hoping my voice would clear it hasn't, and so I've taken the opportunity having a glass of whiskey and just cracking on. So if you like the sound of a slightly bluesy voice, that's great. If you don't, I'm really sorry, but whichever, which way I'm Paul. And this is the Mastering Portrait Photography podcast. So it's been a busy month or two. You can always tell when it's busy [00:01:00] 'cause the podcasts. Get, don't really get delivered in quite the pace I would like. However, it really has been a busy couple of weeks the past few. Let me, I'm gonna draw your attention to it. The past couple of weeks, we've, there's a ton of stuff going on around us for a moment. I was up in Preston. I've been up in Preston twice over the past couple of weeks. The first one was working as a qualifications judge for the BIPP, the British Institute Professional photographers. Um. Which I love judging. I love judging. It's exhausting, but I love it. And that was qualifications, panels. Then last week was the launch. Of the updated edition of Mastering Portrait Photography, the book, which is where it all started, where Sarah Plata and I published this book that seems to have been incredibly popular. 50,000 copies translated from English into four other languages. Chinese, Korean, German. And Italian, do not ask me, do not ask me the logic on why the book is in those [00:02:00] particular languages. To be fair, we only found out about the Chinese and Korean when we were trying to get some marketing material together to talk about the new book Nobody had told us. I'm not even sure the publisher knew, to be honest. Uh, but we have found copies. We have a Chinese copy here in the studio. I'm still trying to get a Korean version. So if you are listening to this. Podcast in Korea. Please tell me how to get hold of a version in Korean because we'd love to complete the set. There's, in fact, there's two Italian versions. We knew about that. There's a German version we knew about that hardback version. It's great. It's really beautiful. Very I, like I, I don't live in Germany and I don't like to stereotyping entire nation, but the quality of the book is incredible. It's absolutely rock solid, properly engineered. Love it. We have a Chinese version here but the Korean version still alludes us. However, this week the new version, mastering portrait photography is out. And as you know, I, Sarah interviewed me for the podcast last week to talk about it. Well, it's out. We've had our launch party, uh, we invited everybody who [00:03:00] has featured in the book who, everybody, every picture in the book that we asked the person in it to come to the studio for a soiree. And it was brilliant. I've never seen so much cheese in all my life, and by I don't mean my speech, I mean actual cheese. We had a pile of it, still eating it. So it's been a week and I'm still eating the cheese. I dunno quite how, well, quite by how much we vacated, but probably by several kilos. Which I'm enjoying thoroughly. I've put on so much weight this week, it's unreal, but I'm enjoying the cheese. And then on Sunday we had an open day where we had set the studio out with some pictures from the book and some notes of the different people. Who featured and what I might do, actually, I'd, I wonder if I can do a visual podcast. I might do a visual podcast where I talk about those images, at some point on the website, on masteringportraitportraitphotography.com. I will do the story and the BTS and the production of every single image that's in the book, but it's gonna take me some [00:04:00] time. There's nearly 200 images in there. Um, and every one of them, bar one is a new image or is, is. It is, it is a new image in the book, and it has been taken in the 10 years or the decades subsequent to the first book, all bar one. Feel free to email me. Email me the image you think it might be. You'll probably guess it, but it's it's definitely in there. Um, and so it's been really busy. And then at the beginning of this week, I spent two days up in Preston again, judging again, but this time it was for the British Institute of Professional Photographers print Masters competition. Ah, what, what a joy. Six other judges and me, a chair of judges. Print handlers, the organizers. Ah, I mean, I've seen so many incredible images over those 48 hours, and in this podcast I want to talk a bit about how we do it, why we do it, what it feels like to do it, [00:05:00] because I'm not sure everybody understands that it's it, it's not stressful, but we do as judges, feel the pressure. We know that we are representing, on the one hand, the association as the arbiters of the quality of the curators of these competitions, but also we feel the pressure of the authors because we are there too. We also enter competitions and we really, really hope the judges pay attention, really investigate and interrogate the images that we've entered. And when, when you enter competitions, that heightens the pressure to do a good job for the authors who you are judging. So in this podcast, I'm gonna talk through some of the aspects of that. Forgive me if it sounds like I'm answering questions. It's because I wrote myself some questions. I wrote some [00:06:00] questions down to, how I structures the podcast usually, uh, the podcast rambles along, but this one I actually set out with a structure to it, so forgive me if it sounds like I'm answering questions. It's 'cause I'm answering my own questions. What does it feel like? How do you do it? Et cetera, et cetera. Anyway, I hope it's useful. Enjoy. And it gives you an insight into what it's like to be a competition judge. Okay. As you walk into the judging room. For me at least, it's mostly a sense of excitement. There's a degree of apprehension. There's a degree of tension, but mostly there's an adrenaline rush. Knowing that we're about to sit and view, assess, score these incredible images from photographers all over the world, and let's remember that every photographer when they enter a print competition, which is what I'm talking about primarily here. Every photographer [00:07:00] believes that print that category that year, could win. Nobody enters an image thinking that it doesn't stand a chance. Now you might do that modest thing of, I don't know, you know? Oh no, I don't. I I just chance my arm. No one enters a print they don't think has a chance of doing well. That just doesn't happen. It's too expensive. It takes too much time. And as judges. We are acutely aware of that. So when you walk into the room, lots of things are going in your on, in your heads. Primarily, you know, you are there to do a job. You are there to perform a task. You are going to put your analytical head on and assess a few hundred images over the next 48 hours. But as you walk in, there's a whole series of things. You, you are gonna assess the room. You see that your fellow judges, you're gonna see the print handlers. You're going to see the chair, you're gonna see the people [00:08:00] from whichever association it is who are organizing it, who or who have organized it. You'll see stacks of prints ready to be assessed. There's a whole series of things that happen. A lot of hugging. It's really lovely. This year the panel of judges, uh, had some people in it I haven't seen for quite a few years, and it was beyond lovely to see them. So there's all of that, but you, there's this underlying tension you are about to do. One of the things you love doing more than anything else in as part of your job. So there's the excitement of it and the joy of it, but there's always this gentle underlying tone of gravitas of just how serious it is. What we are doing. So there will be plenty of laughter, plenty of joy, but you never really take your eye off the task in hand. And that's how it feels as you go to take your seats on the judging [00:09:00] panel. So the most important thing, I think, anyway, and I was chair of qualifications and awards for the BIPP for a number of years, is that the whole room, everybody there is acting as a team. If you are not gonna pull as a team, it doesn't work. So there has to be safety, there has to be structure. There has to be a process and all of these things come together to provide a framework in which you assess and create the necessary scores and results for the association, for the photographers, for the contestants. So you take your seats, and typically in a room, there are gonna be five judges at any one time assessing an image. It's typically five. I've seen it done other ways, but a panel of judges is typically five. The reason we have five is at no point do all of the judges agree. [00:10:00] We'll go through this later in more detail, but the idea is that you have enough judges that you can have contention, you can have. Disagreements, but as a panel of judges, you'll come up with a score. So you'll have five judges sitting assessing an image at any one time. To the side of the room, there'll be two more judges typically. Usually we have a pool of seven, five judges working, two judges sitting out every 10 prints or 10 minutes or whatever the chair decides. They'll we'll rotate along one, so we'll all move along one seat and one of the spare judges will come in and sit on the end and one of the existing judges will step off. And we do that all day, just rotating along so that everybody judges, broadly speaking, the same number of images. Now, of course there is a degree of specialism in the room. If a panel has been well selected, there'll be specialists in each of the categories, but you can't have, let's say there's 15 categories. You [00:11:00] can't have five specialist judges per category. That's simply impractical. Um, you know, having, what's that, 75 judges in a room, just so that you can get through the 15 categories is. A logistics task, a cost. Even just having a room that big, full of judges doesn't work. So every judge is expected to be reasonably multi-talented, even if you don't shoot, for instance, landscapes. You have to have a working knowledge of what's required of a great landscape. Because our job as a panel isn't that each of us will spot all of the same characteristics in an image, all of the same defects, all of the same qualities. Each judge has been picked to bring their own. Sort of viewpoint, if you like, to the image. Some judges are super technical, some judges, it's all about the atmosphere. Some judges, it's all about the printing and there's every bit of image production is [00:12:00] covered by each of the individual specialisms of the judges. And so while there is a degree of specialism, there will be a landscape. Specialist in the room or someone who works in landscape, there will be plenty of portrait photographers, wedding photographers, commercial photographers. The idea is from those seven, we can cover all of those bases. So we have seven judges all at fellowship level, all highly skilled, all experienced. And then there's the chair. Now the chair's role is not to affect the actual score. The chair's role is to make sure the judges have considered everything that they should be considering. That's the Chair's job, is to make sure the judges stay fresh, keep an eye on the scores, keep an eye on the throughput. Make sure that every image and every author are given a. The time and consideration that they are due. What do I mean by that? Well, I just mean the photographers spent a lot of time and effort and [00:13:00] finance putting this print in front of us, and so it's really important that we as judges give it due consideration. The chair, that's their role is to make sure that's what really happens. So the process is pretty simple, really. We will take our seats as a panel of judges and when we are settled. The chair will ask for the print, one of the print handlers. There's normally a couple of print handlers in the room, one to put the image on, one to take the image off. The print handler will take the first image or the next image off the pile and place it in front of us on the light box. They will then check the print to make sure there's no visible or obvious dust marks, um, or anything, and give with an air blower or with the back of a a handling glove, or very gently take any dust spots away. They will then step back. Now, the way the judges are set, there are five seats in a gentle arc, usually around the light [00:14:00] box. The outer two judges, judges one and five will step into the light box and examine or interrogate the print carefully. They will take as much time as they need to ascertain what they believe the score for that image should be. They will then take their seats. The next two judges in, so let's say Judge two and four, they will step in to interrogate the print and do exactly the same thing. When they're ready, they'll step back and sit down. And then the middle judge, the final judge in seat three, they will step up and interrogate the print. And the reason we do it that way is that everybody gets to see the print thoroughly. Everybody gets to spend enough time. Examining the print. And at that point, when we all sit down, we all enter our scores onto whatever the system is we're using either using iPads or keypads. There's all sorts of ways of doing it, but what's really important is we do all of this in total silence and we don't really do it because we need to be able to [00:15:00] concentrate. Though that has happened, sort of distracting noises can play havoc. Um, we really do it so that we are not influencing any other judge. So there's no, oh, this is rubbish, or, oh, this is amazing. Or any of this stuff, because the idea is that each judge will come to their own independent score. We enter them, and then there's a process as to what happens next. So that's the process. If at some point a single judge when the image appears, says, I can't judge this for whatever reason, usually it's because they've seen the image before. I mean, there's one this week where I hadn't directly influenced the image. But the author had shown me how they'd done it, so they'd stepped me through the Photoshopping, the construction, the shooting, everything about the image. I knew the image really well, and so when the image appeared on the light box, I knew while I could judge it, it wasn't fair to the author or to the other [00:16:00] competitors that I should. So I raised my hand, checked in with the chair, chair, asked me what I wanted. I said, I need to step off this. I'm too familiar with the work for me to give this a cold read, an objective read. So I if, if possible, if there's another judge, could they just step in and score this one image for me? And that means it's fair for all of the contestants. So that's that bit of process when we come to our score. Let's assume the score's fine. Let's assume, I dunno, it gets an 82, which is usually a merit or a bronze, whatever the system is. The chair will log that, she'll say that image scored 82, which is the average of all five of us. She'll then check in with the scores and the panel of judges. He or she rather, uh, they, so they will look at us and go, are you all happy with that result? That's really important. Are you all happy? Would that result? Because that's the opportunity as judges for one of us, if we're not comfortable that the image is scored where we think it probably should. And [00:17:00] remember with five of you, if the score isn't what you think, you could be the one who's not got your eye in or you haven't spotted something, it might well be you, but it's your job as a judge to make sure if there's any doubt in your mind about the scoring of an image that. You ask for it to be assessed again, for there to be discussion for the team to do its job because it might be that the other members of the panel haven't seen something that you have or you haven't seen something that they have, that both of those can be true. So it's really important that you have a process and you have a strict process. And this is how it works. So the chair will say you are happy. One of the judges may say. No, I'm not happy or may say I would like to challenge that or may simply say, I think this warrants a discussion. I'm gonna start it off. And then there's a process for doing that. [00:18:00] So the judge who raises the challenge will start the dialogue and they'll start in whichever direction it is that they think the scoring is not quite right. They will start the dialogue that way. So let's say the score, the judge who's raising a challenge says the score feels a little low. What happens then is raise a challenge and that judge will discuss the image or talk to the image in a way that is positive and trying to raise the score. And they're gonna do that by drawing attention to the qualities that they feel the image has, that maybe they're worried the other judges haven't seen when they're done, the next judge depends, depending on the chair and how you do it. The next judge will take their turn and he goes all the way around with every judge having their say. And then it comes back to the originating judge who has the right of a rebuttal, which simply means to answer back. So depending on how the [00:19:00] dialogue has gone it may be that you say thank you to all of the judges. I'm glad you saw my point. It would be great if we could give this the score that I think this deserves. Similarly, you occasionally, and I did do one of these where I raised a challenge, um, where I felt an image hadn't scored, or the judges hadn't seen something that maybe I had seen in the image, and then very quickly realized that four judges had seen a defect that I hadn't. And so my challenge, it was not, it's never a waste of a challenge. It's never ever a waste because it's really important that every image is given the consideration it deserves. But at the end of the challenge that I raised, the scoring stayed exactly the same. I stayed, I said thank you to all of the judges for showing me some stuff that I hadn't noticed. And then we moved on. More often than not, the scores move as the judges say, oh, do you know what, you're right, there is something in this. Or, no, you're right. We've overinflated this because we saw things, but we missed these technical defects. It's those kinds of conversations. So that's a, a chair, that's a, a judge's [00:20:00] challenge. Yeah, this process also kicks in if there's a very wide score difference between the judge's scores, same process, but this time there's no rebuttal. Every judge simply gives their view starting with the highest judge and then working anywhere on the panel. Um, and then there's a rare one, which does happen which is a chair's challenge, and the chair has the right in, at least in the competitions that I judge, the chair has the right to say to the panel of judges. Could you just give this another consideration? I think there might be things you've missed or that feels like you're getting a little bit steady in your scoring. 'cause they, the chair of course, has got a log of all the scores and can see whether, you know, you're settling into like a 78, 79 or one judge is constantly outta kilter. The chair can see everything and so your job as the chair is to just, okay guys, listen, I think this image that you've just assessed. Possibly there's some things one way or the [00:21:00] other that you might need to take into consideration. It doesn't feel like you have. I'd like you to discuss this image and then just do a rescore. So those are the, those are the mechanisms. So in the room you've got five judges plus two judges who are there ready to step in when required either on the rotation or when someone recuses themself and steps out. Usually two print handlers and then usually there's at least one person or maybe more from the association, just doing things like making sure things are outta their boxes, that the scores are recorded on the back of the prints, they go back into boxes, there's no damage because these prints are worth quite a lot of money. And so, there's usually quite a few people in the room, but it's all done in silence and it's all done to this beautiful process of making sure it's organized, it's clear it's transparent, and we're working as one team to assess each image and give it the score that it deserves. so when the print arrives on the box. It has impact. Now, whether you like it or not, [00:22:00] whether you understand it or not, whether you can define it or not, the print has an impact. You're gonna see it, you're gonna react to it. How do you react to it? Is it visceral? Does your heart rate climb? Do you. Do you explore it? Do you want to explore it? Does it tell a clear story? And now is when you are judging a competition, typically the association or the organization who are running the competition will have a clear set of criteria. I mean, broadly speaking, things like lighting, posing layout or composition storytelling. Graphic design, print quality, if it's a print competition. These are the kinds of things that, um, we look for. And they're listed out in the competition guides that the entrant, the author will have known those when they submitted their print. And the judges know them when we're assessing them, so they're kind of coherent. Whatever it is that the, the entrance were told, that's what we're judging [00:23:00] to the most important. Is the emotional connection or the impact? It's typically called visual impact or just impact. What's really important about that is that it's very obvious, I think, to break images down into these constructed elements like complimentary colors or tonal range or centers of interest, but they don't really do anything except create. Your emotional reaction to the picture. Now, we do use language around these to assess the image, but what we're actually looking for is emotional impact. Pictures tell stories. Stories invoke emotions. It's the emotions we're really looking for. But the trick when you are judging is you start with the initial impact. Then you go in and you in real tiny detail, look at the image. Explore it, interrogate it, [00:24:00] enjoy it, maybe don't enjoy it. And you look at it in all of the different categories or different areas, criteria that you are, that the judges that the organization have set out. And then really, although it never gets listed twice, it should do, impact should also be listed as the last thing you look at as well. Because here's the process. You look at the image. There's an impact. You then in detail investigate, interrogate, enjoy the image. And then at the very end you ask yourself, what impact does it still have? And that's really important because the difference between those two gives you an idea of how much or how well the image is scoring in all of the other areas. If an image has massive impact when you, let's put 'em on the light box, and then you explore it and you [00:25:00] enjoy it, and you look at it under the light, and then at the end of it you're still feeling the same thing you did when it came on the light box, that's a pretty good indicator that all the criteria were met. If on the other hand, as you've explored the image, you've realized. There are errors in the production, or you can see Photoshopping problems or blown highlights or blocked blacks, or things are blurred where they should be sharp or you name it. It's these kinds of things. You know, the printing has got banding in the sky, which is a defect. You see dust spots from a camera sensor. These gradually whittle away your impact score because you go back to the end and you ask, what impact does the image now have? And I've heard judges use terms like at the end of the process, I thought that was gonna be amazing when it first arrived on the light box. I just loved the look of it from a distance, but when I stepped in, there were just too many things that [00:26:00] weren't quite right. And at the end of it, I just felt some would, sometimes I've heard the word disappointed you. So that's certainly how I feel. When an image has this beautiful impact and the hair stand up on the back of your neck and you just think, I cannot wait to step in and explore this image in detail. 'cause I tell you one thing, most authors don't own a light box. When you see a print on a beautiful light box, the, there's something about the quality. The way the print ESS is you actually get to see what a print should look like. So when you step in, you are really excited to see it. And if at the end of that process you're slightly disappointed because you found defects in the printing or problems with the focusing or Photoshop or whatever it is. You really are genuinely disappointed. So that's how you approach it. You approach it from this standpoint of a very emotional, a very emotional connection with the image to start with, and then you break [00:27:00] it down into its elements, whatever those elements are for the competition. And then at the end, you ask yourself really, does it still have the impact? I thought it would because if it does, well, in that case, it's done really, really well. one of the things that's really interesting about judging images is we, we draw out, we write out all of these criteria and. Every image has them really. I mean, well, I say that of course every image doesn't have them. If you are, if you're thinking about landscape or a picture of a shampoo bottle, it doesn't have posing, for instance, if that's one of your criteria. But typically there's a standard set of criteria and every image has them layout, color uh, photographic technique, et cetera. So if we look at let's say composition, let's talk about composition. Personally, I like to use the term layout rather than composition because it [00:28:00] feels a little bit more like a verb. You lay the image out, you have all of the bits, you lay them out. I like that because when we are teaching photography when we say to someone, right, what are all of the bits that you have in front of you? How are you gonna lay them out? It feels a lot more, to me, at least more logical than saying, how are you gonna compose the image? Because it allows. I think it allows the photographer to think in terms of each individual component rather than just the whole frame. So we are looking for how the image is constructed. Remember that every photographer really should think about an image. As telling a story, what's the story that you want somebody else? Somebody that you've never met. In this case a judge, but it could be a client or it could just be somebody where your work is being exhibited on a wall. What do you want them to look at? What do you want them to see? Where do you want that eye to go? And there are lots of tricks to [00:29:00] this, and one of them is layout or composition. So we've got through the initial impact, boom. And the excitement. And then you start to think, is the image balanced? I like to think of an image having a center of gravity. Some photographers will use center of interest, which is a slightly different thing, but I think an image has a center of gravity. The component parts of the image create balance. So you can have things right down in the edges of the frame, but you need something to balance it like a seesaw. You can't just. Throw in, throw parts of the puzzle around the frame. So you are looking for where do they land? And of course, as photographers, we talk about thirds, golden ratios, golden spirals, all of these terms. But what we are really looking for is does the image have a natural flow? Does it feel like everything's where it should be? Does your eye go to the bit that the author probably wanted you to look at? Have they been effective in their [00:30:00] storytelling? And by storytelling, I don't necessarily mean storytelling as in photojournalism or narrative rich photography. What I mean is what did they want you to see, and then did you go and see it? Separation? Is the background blurred? And let's say the, the subject is sharp. That's a typical device for making sure you look at the subject. Is the color of the background muted in a way that draws your attention? Again to whatever it is in the foreground. So layouts one of those tools. So we work our way around it and try and figure out does the positioning of all of the elements of the image does their positioning add or distract from the story? We think that author was trying to tell. Let's remember that it's not the judge's job to understand the story. It's the author's job to tell the story in a way that the judges can get it. Too often, you know, when I, when I've judged [00:31:00] a competition, someone will come and find me afterwards and say, did you understand what that was about? I was trying to say this, and it's like, well, I didn't see that, but that's not my fault. You know, it's, it's down to you to lead me pictorially to. Whatever it is you're trying to show. Same with all judges, all viewers, clients. It doesn't really matter. It's the author's job, not the judges. So at the end of that, you then move on to whatever's the next criteria. So you know, you assess these things bit by bit, and by the way, every judge will do it in a slightly different order. There'll be written down in an order. But each judge would approach it in a different manner. For me, typically it's about emotional connection more than anything else, it's about the emotion. I love that genuine, authentic connection of a person in the image. To me, the viewer. I will always go there if, if it's a portrait or a wedding or fashion image, if there's a person in it or a dog, I suppose, [00:32:00] then I will look for that authenticity, that, that visceral, it feels like they're looking at me or I'm having a dialogue with them. That's my particular hot button, but every judge has their room and that's how you approach it. So when it comes to a photograph in the end, you don't really have anything other than light when you think about it, right? That's, you pick up a camera, it's got a sensor, it's got film, it's got a lens on the front, and a shutter stopping light coming, or it goes through the lens, but the, the shutter stops it hitting a sensor. And at some point you commit light to be recorded. And it's the light that describes the image. There's nothing else. It's not something you can touch or hear, it's just light. And of course light is everything. I think, I think the term pho photography or photograph is a mix of a couple of words, and it's a relatively recent idea. I think [00:33:00] it was Victorian and it's, isn't it light and art photographic or photograph, um. So that's what it is. It's capturing light and creating a reaction from it. So the quality of light is possibly the most important thing. There is too much of it, and you're gonna have blown highlights, nasty white patches on your prints, too little of it. You're gonna have no detail in the shadows and a lot of noise or grain, whether it's film or whether it's off your sensor. And then there's the shape of the light. The color of the light, and it doesn't really matter whether it's portrait, wedding, landscape, product, avant garde, it's light that defines things. It's light that can break an image. So with portraiture, for instance, we tend to talk about. Sculpting or dimensionality of light. We tend to talk about the shape of the subject. We talk about flattering light. We talk about hard and soft light, and all of these things [00:34:00] mean something. This isn't the podcast to talk about those in detail, but that's what we're looking for. We are looking for has the light created a sense of shape, a sense of wonder, a sense of narrative. Does the lighting draw your eye towards the subject? And when you get to the subject, is it clear that the lighting is effective and by effective, usually as a portrait photographer anyway. I mean flattering. But you might be doing something with light that's counterintuitive, that's making the subject not flattered. That's maybe it's for a thriller style thing, or maybe it's dark and moody. Harsh, as long as in tune with the story as we are seeing it, then the lighting is assessed in that vein. So we've seen some incredible beauty shots over the past couple of days where the lighting sculpted the face. It had damaged ality, but it was soft. There were no hard shadows, there were no [00:35:00] blown highlights. The skin, it was clear that the texture of the skin, the light, it caught the texture. So we knew exactly what that would be. It had. Captured the shape. So the way the gens or shadows ripple around a body or a face tell you its shape. They haven't destroyed the shape. It's it's catch shape, but it hasn't unnecessarily sculpted scars or birthmarks or spots, you know? And that's how lighting works. So you look for this quality, you look for control, you look for the author, knowing what they're doing. With landscapes, typically it's, it is very rare, in my opinion, for a landscape. To get a good score if it isn't shot at one end of the day or the other. Why? Well, typically, at those points of the day, the light from the sun is almost horizontal. It rakes across the frame, and you get a certain quality to the way the shadows are thrown. The way the [00:36:00] light, sculpts hills, buildings, clouds, leaves, trees, the way it skips off water, whether it's at the beginning of the day or the end of the day. It's quite unusual though we do see them for an amazing photograph of escape to be taken at midday. But you can see how it could be if you have the sun directly overhead, because that has a quality all of its own. And you know, if when an author has gone to the effort of being in the right place to shoot vertical shadows with a direct overhead son, well maybe that's so deliberate that the, the judges will completely appreciate that and understand the story. So it's looking for these things and working out. Has the lighting been effective in telling the story? We think the author was trying to tell? Lighting is at the heart of it. So when we've been through every criteria, whatever they are, lighting, composition, color, narrative, et cetera, et cetera, et cetera, [00:37:00] we've assessed every image, hundreds of them. We've had challenges, we've had conversations. We have a big pile of prints that have made it over the line. To whatever is your particular association scoring, whether it's merit or bronze or whatever. The puzzle isn't quite complete at that stage because there is of course, a slight problem and that problem is time. So if you imagine judging a section of images might take a couple of hours to do 70 prints, 60, 70 prints might take longer than that. In fact, it might take the best part of an afternoon. During that time. There's every chance the scores will wander. And the most obvious time is if a category spans something like a lunch break. We try to make sure categories don't do that. We try to complete categories before going for a break. We always try to be continuous, but [00:38:00] you've still got fatigue. You've got the judges rotating. So all of these things are going on. It sometimes it depends what images come up in what order could conceivably affect the scoring. For instance there's an image that came up this year where I think probably I was the judge that felt the strongest about it. There was something about this particular image that needed talking about, and so when it came up and it was scores that I raised a challenge and my heart rate, the minute the print hit the stand, my heart rate climbed through the roof. It was. Something about it that just connected with me. And then when I explored the image on the lights, on the light box, to me, there was very little that was technically holding it back. There were a couple of bits, but nothing that I felt warranted a lower score. And so I raised a [00:39:00] challenge. I said my point, I went through it in detail. I asked the other judges to consider it. From my viewpoint, they gave their views as to why they hadn't. But each of them understood where I was coming from and unlike the challenge I talked about earlier where no one changed their mind on this one, they did on this one. They also saw things that I saw when we went through it. But at the end of the process, the image was got a higher score, which is great, but. I didn't feel that I could judge the next image fairly because whatever came in, my heart rate was still battering along after seeing this one particular image. And that happens sometimes. It's not common, but I felt I needed to step off the panel before the next image came up. Which I did in work, working with the chair and the team. I stepped off for a couple of prints before stepping back on [00:40:00] just to let my eye settle and let myself get back into the right zone. But during the day, the zone changes. The way you change your perception of the images, as the images come through is so imperceptible, imperceivable, imperceptible. One of those two words is so tiny that you don't notice if there's a slight drift. And so there's every opportunity for an image to score a couple of points lower or a couple of points higher than it possibly could have done. If it had been seen at another point in the day. Maybe it had been, maybe if the image was seen after a series of not so strong images, maybe it would get a higher score. Or of course, the other way round. Maybe after seeing a series of really, really powerful, impactful images that came up, maybe it scored be slightly diminished. Both of those can be true. And so it's really important that we redress that any possible imbalance and every competition I've ever done has a final round. And the [00:41:00] way this is done is that we take the highest scoring images, top five, top 10, depending on the competition, and we line them up. And all of the judges now, not just the judges who are the five on the panel, all seven judges. Get an opportunity to bring each image back onto a light box if they wish, if they haven't seen them already. Because remember, some of those images may not have been assessed by the, well. It cannot have been assessed by all seven of the judges, so there's always gonna be at least two judges who haven't seen that image or seeing it for the first time as a judge. So we bring them back, we look at them, and then we rank them using one of numerous voting mechanisms where we all vote on what we think are the best images and gradually whittle it down until we're left with a ranked order for that category. We have a winner, a second, a third, a fourth, sometimes all the way down to 10 in order, depending on the competition. And that's the fairest way of doing it, because it means, okay, during the judging, [00:42:00] that image got, I dunno, 87. But when we now baseline it against a couple of images that got 90 something, when we now look at it, we realize that that image probably should have got a 90 as well. We're not gonna rescore it, the score stands, but what we are gonna do is put it up into there and vote on it as to whether it actually, even though it got slightly lower, score, is the winning image for the category. And every competition does something similar just to redress any fluctuations to, to flatten out time. It takes time outta the equation because now for that category, all seven judges are judging the winner at the same time, and that's really important. We do that for all the categories, and then at the end of that process, we bring back all of the category winners and we vote on which one of those. Wins the competition. Now, not every competition has an overall winner, but for the one we've just done for the print masters, for the BIPP print masters, there is an overall winner. And so we set them all out [00:43:00] and we vote collectively as a winner on the winner. And then, oh, we rank them 1, 2, 3, 4, or whatever. Um, really we're only picking a winner, but we also have to have some safety nets because what happens if for instance. Somebody unearths a problem with an image. And this has happened, sadly, this has happened a couple of times in my career where a photographer has entered an image that's not compliant with the rules but hasn't declared it. And it's always heartbreaking when it does happen, but we have to have a backup. So we always rank one, two, and three. So that's some backups, and that's the process. That's how we finish everything off. We have finished, we've got all the categories judged, the category winners judged, and then the overall one, two, and three sorted as well. at the end of the process? I can't speak for every judge. I can speak for me, I feel, I think three things. Exhaustion. It's really hard to spend 48 hours or longer [00:44:00] assessing images one by one, by one by one, and making sure that you are present and paying attention to every detail of every image. And you're not doing an author or an image a disservice. You pay each image or you give each image, you pay each image the due attention it deserves. I feel exhilaration. There's something energizing about assessing images like this. I know it's hard to explain, but there's something in the process of being alongside some of the best photographers that you've ever met, some photographers that you admire more than any others, not just as photographers, but as human beings. The nicest people, the smartest people, the most experienced people, the most eloquent people. There's something in that. So there's this [00:45:00] exhilaration. You are exhausted, but there's an exhilaration to it. And then finally, and I don't know if every photographer feels this or every judge feels this, I do. Which is massively insecure, I think. Can't think of the right words for it. There must be one. But I come away, much like when you've been out on the beers and you worry about all the things you've said, it's the same process. There was that image I didn't give enough credit for. There was this image I was too generous on. There were the things I said in a challenge when it gets a little bit argumentative or challenging. 'cause the clues in the title, you know, maybe I pushed too hard, maybe I didn't push hard enough. There are images you've seen that you wished you'd taken and you feel like. I'm not good enough. There's an insecurity to it too, and those are the three things I think as you leave the room, it's truly [00:46:00] energizing. Paradoxically, it's truly exhausting, but it's also a little bit of a head mush in that you do tend to come, or I do tend to come away a little bit insecure about. All the things that have gone on over the two days prior, and I've done this a long time. I've been judging for, I dunno, 15, 16, 17 years. And I've got used to those feelings. I've got used to coming away worrying. I'm used to the sense of being an underachiever, I suppose, and it's a wonderful , set of emotions that I bring home. And every time I judge. I feel better for it. I feel more creative. I feel more driven. I feel more determined. I feel like my eyes have been opened to genres [00:47:00] of photography, for types of imagery, for styles of posing or studio work that I've never necessarily considered, and I absolutely adore it every single second. So at the end of that, I really hope I've described or created a picture of what it's like to be a judge for this one. I haven't tried to explain the things we saw that as photographers as authors, you should think about when you are entering. I'm gonna do that in a separate podcast. I've done so many of those, but this one was specifically like, what does it feel like to be a judge? Why do we do it? I mean, we do it for a million reasons. Mostly we do it because people helped us and it's our turn to help them. But every photographer has a different reason for doing it. It's the most joyful process. It's the most inspiring process and I hope you've got a little bit of that from the podcast. So [00:48:00] on that happy note, I'm gonna wrap up and I'm gonna go and finish my glass of whiskey which I'm quite excited about if I'm honest. 'cause I did, it's been sitting here beside me for an hour and I haven't drunk any of it. I do hope you're all doing well. I know winter is sort of clattering towards us and the evenings are getting darker, at least for my listeners in the north and the hemisphere. Don't forget. If you want more information on portrait photography or our workshops we've announced all of the upcoming dates or the next set of upcoming dates. Please head across to mastering portrait photography.com and go to the workshop section. I love our workshops and we've met so many. Just lovely people who've come to our studio. And we've loved being alongside them, talking with them, hopefully giving a bit of inspiration, certainly taking a little bit of inspiration, if I'm honest, because everyone turns up with ideas and conversations. Uh, we would love to see you there. The workshops are all are all there on the website and the workshop section. You can also, if you wish, buy a signed copy of the book from mastering portrait photography.com. Again, just go to the [00:49:00] shop and you'll see it there on the top. Amazon has them for sale too. It is great. Amazon typically sells them for less than we do, but we have a fixed price. We have to buy them from the wholesaler at a particular price, whereas Amazon can buy many, many more than we can, so they get a better deal if I'm honest. However, if you want my paw print in there, then you can order it from us and it's supports a photographer and it's really lovely to hear from you. When you do, uh, one thing, I'd love to ask anyone who has bought the updated edition of the book, if you are an Amazon customer. Please could you go on to amazon.com and leave us a review? It's really powerful when you do that, as long as it's a good review. If it's a rubbish review, just email me and tell me what I could have done differently, and I'll email you back and tell you, tell you why I didn't. But if it's a half decent review, a nice review. Please head over to Amazon. Look for mastering portrait photography, the new version of the book, and leave us a review. It's really important particularly in the first couple of [00:50:00] weeks that it's been on sale. Uh, it would be really, really helpful if you did that. And on that happy note, I wish you all well. I've grabbed my glass of whiskey and I'm gonna wrap up and whatever else you do. Until next time, be kind to yourself. Take care.   

Send us a textIn this special episode of Supernatural Japan, we journey to South Korea to explore real ghost stories and Korean folklore. Host Kevin O'Shea talks with writer and folklorist Shawn Morrissey, author of Supernatural Encounters in South Korea and guide for the Dark Side of Seoul walking tours.Shawn shares chilling paranormal encounters and haunted legends gathered from Koreans and expats alike, revealing how history and culture shape Korea's supernatural beliefs. From eerie cemeteries to centuries-old ghost tales, this episode uncovers the haunting side of Korean tradition and modern life.Get your copy of Supernatural Encounters in South Korea:https://www.darksideofseoul.com/store/Follow Shawn on Instagram:https://instagram.com/shawn.morrisseyFollow the podcast: Instagram: https://www.instagram.com/supernaturaljapanBluesky: https://bsky.app/profile/madformaple.bsky.socialX: https://x.com/MadForMapleFacebook: https://www.facebook.com/groups/supernaturaljapanEmail: supernaturaljapan@gmail.comTales from Kevin Podcast:https://podcasts.apple.com/us/podcast/tales-from-kevin/id1767355563Support the podcast (Help fund the creation of new episodes) MEMBERSHIPS NOW AVAILABLE!: https://buymeacoffee.com/busankevinYouTube: https://www.youtube.com/@BusanKevinNEW podcast companion blogs! https://justjapanstuff.com/Support the show

311 | Sasha Hom Sasha Hom lives an extraordinarily unconventional life. I'm so excited to introduce her to you. She's a writer, goat farmer, mother, and her new book Sidework is incredible. Today we talk about her experiences as a Korean adoptee, adopted to a Chinese American couple in California. Sasha tells us about her trips to Korea and China, we talk motherhood as adoptees, and how important writing is in her life.   Full Show Notes and Transcript Here   Join our adoptee community on Patreon here   Check out our upcoming live events here! This podcast is for educational and entertainment purposes only. Nothing stated on it, either by its hosts or any guests, is to be construed as psychological, medical or legal advice. Please seek out professionals in those fields if you need those services. The views expressed by the hosts of Adoptees On or any guests are their own and do not represent the opinions of any organization or other person unless otherwise stated.

measure your progress with this video quiz

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improve your listening skills by comparing different versions of "The Fox and the Grapes"

**Special note to our listeners** Love the show? Help us keep the conversation going! Become a paid subscriber through our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Substack. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Your contributions help us continue to make content on issues related to the Asian-American, immigrant, modern parent experience.THANK YOU to our super awesome listeners who have already signed up!---------------------------------------Have you noticed that Korean stuff is REALLY popular these days? BTS, Black Pink, Kpop Demon Hunters, K-beauty, Korean food, Netflix's Extraordinary Attorney Woo are but a few of the Korean cultural exports that have had immense cultural success in Western markets in recent years.As Asian-Americans (and one resident Korean-American :) we grew up consuming content in the 80's, 90s and the aughts from the largely separate worlds of Asian and American entertainment. So it's kind of a head rush to see how the two worlds are colliding now. We give our unique and under-the-hood perspective on Korean content being embraced in America and beyond - in true MMM fashion, we dive into everything from the geopolitical factors surrounding cultural exports, the unique socio-cultural role that Korean-Americans have played in the global rise of Korean media, to the gossipy bits about Korean celebs.

Comment on this episode by going to KDramaChat.comToday, we have a special episode of K Drama Chat where we're joined by longtime listener, friend, and screenwriter, Ellen Sullivan. We talk about the art and science of screenwriting and how the best K Dramas follow—or creatively depart from—dramatic structure to deliver compelling, emotional stories. In this episode, we discuss:The shows that are heavily spoiled in this episode: Crash Landing On You, Mr. Queen, Mr. Sunshine, When the Phone Rings, and Captivating the King.Ellen's background as a screenwriter and technical writer, and how her passion for K Dramas began with My Mister.The Western three-act structure versus the Korean four-act structure (gi-seung-jeon-gyeol), and how each style approaches storytelling and character development.Detailed examples of setup, midpoint, and conclusion in Crash Landing On You, Mr. Queen, and Mr. Sunshine.What makes these shows work: believable character arcs, clear motivations, strong midpoint turns, and emotional payoffs.The redemption arc as a dramatic formula, especially in characters like Gu Seung-jun (CLOY) and Jang Bong-hwan (Mr. Queen).Why humor breaks are essential in Korean dramas and how they add richness to character and story.Foreshadowing and payoffs (or lack thereof) in When the Phone Rings, and why the “Argan” plot twist derailed the show.The pacing and structural missteps in Captivating the King, including over-explaining, weak female lead development, and a lack of trust in the audience.The importance of a “MacGuffin” in each drama—a central object or goal everyone is chasing.How K Dramas “trust the audience” by skipping mundane scenes and using implication rather than exposition.The emotional power of music in K Dramas, especially in Mr. Queen, CLOY, and Mr. Sunshine, and how it enhances tone and viewer engagement.Why well-crafted character interaction reveals motivation better than exposition.The writing mantra: “Make me care.” How the best dramas engage our emotions without making us think about structure until the end.What we're watching now, including Bon Appetit, Heavenly Ever After, Typhoon Family, Because This is My First Life, Signal, and Will You Marry Me.A big reveal: the next K Drama we'll be recapping in Season 13! You have to listen to find out!

It's a major milestone for HYBE's Japanese-based boy group &TEAM - their long-awaited Korean debut is finally here. In this episode, Chris and Chantel Nicole review "Back to Life", the group's new mini album and first official step into the Korean market.We dive into the production, vocals, visuals, and overall artistic direction. With tracks like the title track "Back to Life" and the emotional "Heartbreak Time Machine", does this release live up to the potential fans have been waiting for?Let's talk evolution, ambition, and whether &TEAM are ready to rise to the top of K-Pop's next generation.Join us on Patreon!: https://www.patreon.com/CCTVPOPSFollow us on social media: https://linktr.ee/cctvpops0:00 - Intro1:07 - "Back to Life" Album Info1:47 - Album Cover3:30 - "Back to Life"15:20 - "Lunatic"22:11 - "MISMATCH"29:40 - "Rush"35:03 - "Heartbreak Time Machine"41:01 - "Who am I"47:57 - Cut or Keep50:55 - Final Thoughts & Overall RatingReferences:“Back to Life” MV https://youtu.be/KqE0P1qMtQg?si=chwWh1-FaiaFUex0 “Back to Life” Live on THE SHOW 251104 https://youtu.be/L_-gGvyXUnU?si=4_0bXF8qMHezAxir“Lunatic” MV https://www.youtube.com/watch?v=GA50bjt4JIk&pp=ygUNJnRlYW0gbHVuYXRpYw%3D%3D “Lunatic” Live on THE SHOW 251104 https://www.youtube.com/watch?v=edtuzRbdlRo&pp=ygUNJnRlYW0gbHVuYXRpYw%3D%3D “MISMATCH” Live https://www.youtube.com/watch?v=HKB9JJtohTg&pp=ygUOJnRlYW0gbWlzbWF0Y2g%3D “Heartbreak Time Machine” Live https://www.youtube.com/watch?v=6hxZuH9t2xk&pp=ygUdJnRlYW0gaGVhcnRicmVhayB0aW1lIG1hY2hpbmU%3D

學英文時，「like / don't like」太常用了嗎？

South Korean cars and culture; will hydrogen work; the South Carolina Hilton Head Concours; 2026 Panamera Turbo S E-Hybrid review; driving a new Lexus TX500h F Sport; and a LOT of Q&A!Recorded November 2, 2025Patreon questions include:2026 Porsche Turbo S vs McLaren 750SIs the new Hyundai Santa Fe boxy enough?Did supercharging a V8 M3 ruin it or enhance it?Best cars for lake roadsHow does Korean car culture compare to Japan?Cars with great weight transferNew Subaru STI conceptIs serviceability important when buying a used car?Thoughts on the RAM hybrid with a V6 generator?Funny rally wrap ideasWhat car feature would we erase from the world?Gator straps: yay or nay?The new Vespa 300 is confusingReplacing a 2013 Audi Q7 TDIBMW X3M vs Porsche Macan GTS vs Ioniq 5NCollector cars you can repair foreverAnd more! Show Notes:SmallsFor a limited time get 60% off your first order when you head to smalls.com/tire RulaThousands of guys have already used Rula to finally get the care they needed. Don't keep putting it off -  go to Rula.com/tire and get started today. Take the first step, get connected, and take control of your mental health. FactorEat smart at FactorMeals.com/tire50off and use code tire50off to get 50% off your first box, plus Free Breakfast for 1 Year. Get delicious, ready-to-eat meals delivered—with Factor.  New merch! Grab a shirt or hoodie and support us! https://thesmokingtireshop.com/ Use Off The Record! and ALWAYS fight your tickets! For a 10% discount on your first case go to https://www.offtherecord.com/TST Want your question answered? Want to watch the live stream, get ad-free podcasts, or exclusive podcasts? Join our Patreon: https://www.patreon.com/thesmokingtirepodcast Instagram:https://www.Instagram.com/thesmokingtirehttps://www.Instagram.com/therealzackklapman   Want your question answered? Want to watch the live stream, get ad-free podcasts, or exclusive podcasts? Join our Patreon: https://www.patreon.com/thesmokingtirepodcast Use Off The Record! and ALWAYS fight your tickets! Enter code TST10 for a 10% discount on your first case on the Off The Record app, or go to http://www.offtherecord.com/TST. Watch our car reviews: https://www.youtube.com/thesmokingtire Tweet at us!https://www.Twitter.com/thesmokingtirehttps://www.Twitter.com/zackklapman Instagram:https://www.Instagram.com/thesmokingtirehttps://www.Instagram.com/therealzackklapman

After My First Trip to Korea, I've learned I actually have an audience there. Now, I'm on a mission to learn Korean so I can perform for the audience I never knew I had.

You're listening to Burnt Toast! I'm Virginia Sole-Smith. You're listening to Burnt Toast. I'm Virginia Sole-Smith. Today, my conversation is with Kaila Yu. Kaila is an author based in Los Angeles. Her debut memoir, Fetishized: A Reckoning with Yellow Fever, Feminism, and Beauty, came out earlier this fall to a rave review in The New York Times. She's also a luxury travel and culture writer with bylines in The New York Times, Rolling Stone, The LA Times, Condé Nast Traveler and many more. Kaila's memoir grapples with her experience growing up Asian and female in a world that has so many stereotypes and expectations about both those things. We talk about the pressure to perform so many different kinds of specific beauty labor, the experience of being objectified sexually —and we really get into how we all navigate the dual reality of hating beauty standards and often feeling safer and happier complying with them. I learned so much from this book, and this conversation with Kaila. Don't forget that if you've bought Fat Talk from Split Rock Books, you can take 10% off your purchase of Fetishized there too — just use the code FATTALK at checkout. And if you value this conversation, a paid subscription is the best way to support our work!Join Burnt Toast!

In this episode of Cultish, we explore why Korea has become a center for a new wave of cult movements—and why the global church should pay attention. If Dr. Walter Martin were alive today, he'd likely be addressing the rise of groups like Shincheonji, the World Mission Society Church of God, Jesus Morning Star, and many others now infiltrating churches throughout the Western world.We're joined by Pastor Yang, who serves as an Adjunct Professor of New Testament at the Presbyterian University and Theological Seminary in Seoul. He holds a Doctor of Theology in New Testament and, from 2023 to 2024, served as a Visiting Scholar at Trinity Evangelical Divinity School in Illinois.Also joining us is Chris, a former member of Shincheonji and returning guest, sharing his firsthand experience and ongoing efforts to raise awareness about the growing influence of Korean cults around the world.Partner With Us & Be Part of the Mission to Change Lives: HERESHOP OUR MERCH: HEREPlease consider subscribing to our YouTube Channel: CultishTV.comCultish is a 100% crowdfunded ministry. -- Email Chris & Pastor Yang: biblev@daum.net Chris@examiningthecults.org Chris's Website: HEREChris's YouTube: HEREPastor Yang's YouTube: HERE

Today our friends Tiffy and Cindy join us to talk about Girls Nights! We chat about whether we prefer a cozy night in or wild night out with our girlfriends, and discuss some of our favorite activities. We also chat about expectations of meeting or incorporating new people into girls nights, and reminisce about some of our favorite memories together!Support the showFollow us on social media @eatyourcrustpod

In this episode of Dimensions of Diversity we revisit a conversation Lloyd Freeman had during a webinar earlier this year celebrating Asian American Native Hawaiian Pacific Islander (AANHPI) Heritage Month. He welcomed Patricia Liu, a Korean American author, entrepreneur, and media executive.The conversation focused on Korean American representation in leadership and the media. Liu shared her personal story of immigrating to the U.S. as a child, the challenges of assimilation, and the family advocacy that shaped her. She explained how these experiences inspired her to found "Best of Korea," a media platform celebrating Korean culture.Dimensions of Diversity is a podcast created by Buchanan Ingersoll & Rooney, highlighting diversity in the workplace. Hosted by Lloyd Freeman, Chief Experience Officer, the podcast features meaningful conversations with industry and community leaders working to advance D&I. 

Palantir doesn't want college experience… so it's hiring 18-year-olds for full-time jobs.Did you notice Doritos at Whole Foods?... Because the organic grocer has been “Amazonified.”AI has a PR problem: Everyone hates it… except every company is focusing on it.Plus, Nvidia's CEO Jensen Huang crushed beers at dinner… and Korean chicken stocks jumped.Got a question for the CEO of Lyft? Leave us a voicemail here: https://tboypod.com/shoutouts$PLTR $AMZN $NVDANEWSLETTER:https://tboypod.com/newsletter OUR 2ND SHOW:Want more business storytelling from us? Check our weekly deepdive show, The Best Idea Yet: The untold origin story of the products you're obsessed with. Listen for free to The Best Idea Yet: https://wondery.com/links/the-best-idea-yet/NEW LISTENERSFill out our 2 minute survey: https://qualtricsxm88y5r986q.qualtrics.com/jfe/form/SV_dp1FDYiJgt6lHy6GET ON THE POD: Submit a shoutout or fact: https://tboypod.com/shoutouts SOCIALS:Instagram: https://www.instagram.com/tboypod TikTok: https://www.tiktok.com/@tboypodYouTube: https://www.youtube.com/@tboypod Linkedin (Nick): https://www.linkedin.com/in/nicolas-martell/Linkedin (Jack): https://www.linkedin.com/in/jack-crivici-kramer/Anything else: https://tboypod.com/ About Us: The daily pop-biz news show making today's top stories your business. Formerly known as Robinhood Snacks, The Best One Yet is hosted by Jack Crivici-Kramer & Nick Martell.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.