Podcasts about Zhou

Last time we spoke about the beginning of the battle of Nanjing. As the relentless tide of war approached Nanjing in December 1937, fear gripped its residents. As atrocities unfolded in the countryside, civilians flocked toward safety zones, desperate for refuge. Under the command of General Tang Shengzhi, the Chinese forces prepared for a fierce defense, determined to hold their ground against the technologically superior invaders. Despite heavy losses and internal strife, hopes flickered among the defenders, fueled by the valor of their troops. Key positions like Old Tiger's Cave became battlegrounds, exemplifying the fierce resistance against the Japanese advance. On December 9, as artillery fire enveloped the city, a battle for the Gate of Enlightenment commenced. Both sides suffered grievously, with the Chinese soldiers fighting to the last, unwilling to yield an inch of their soil. Each assault from Japan met with relentless counterattacks, turning Nanjing into a symbol of perseverance amidst impending doom, as the siege marked a critical chapter in the conflict, foreshadowing the brutal events that would follow.   #167 The Battle of Nanjing 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. By mid-December, the landscape surrounding Nanjing was eerily quiet. The Japanese Army marched through what seemed to be desolate fields and mountains, but they were not truly empty. Civilians were scarce, with most having fled, but a few remained in their homes, hiding in cellars and barns, clinging to the hope that the war would bypass them. Meanwhile, thousands of Chinese soldiers, left behind and unable to keep pace with their units, still posed a significant danger to the Japanese forces. The Japanese Army had not truly conquered the territory east and south of Nanjing; they had merely passed through. Mopping-up operations became a top priority. Soldiers from the 16th Infantry Division, stationed near Purple Mountain, spent early December conducting these missions far from the city's walls. “Chinese stragglers may be hiding in this area, and they must be flushed out. Any small structure of no strategic value to the Japanese Army must be burned!” This command rang out to the division's soldiers as they spread across the countryside around Unicorn Gate. Soon, isolated fires began to illuminate the horizon, one for each home. Soldiers from the 9th Infantry Division, who were not directly engaged in combat south of the Gate of Enlightenment, were also conducting similar mopping-up operations. On December 11 at noon, one squad received orders to investigate a suspicious farm building. Although it had been searched previously, movement inside prompted renewed caution. The Japanese entered carefully, moving from room to room. In the basement, they discovered eight Chinese soldiers who offered no resistance, immediately raising their hands in surrender. Bound together, they were brought outside. Using a few Chinese words supplemented by sign language, the Japanese gathered that the Chinese had been in the vicinity where one of their comrades had been killed days earlier. Unanimously, they decided the prisoners should be executed in front of their comrade's grave. Some of the older soldiers hesitated, reluctant to partake in the killings, leaving it to the younger ones to carry out the order. Soon, eight headless bodies lay sprawled before a solitary Japanese grave.  On the morning of December 11, the first soldiers of the 6th Japanese Infantry Division finally spotted the distant city wall of Nanjing. They had been engaged in fierce combat for nearly two days, attempting to dislodge the tenacious defenders of the Yuhuatai plateau, the elite soldiers of the 88th Division. In a desperate bid to maintain their foothold on Yuhuatai, the 88th Division deployed its reserved 528th Regiment along with a battalion of engineers. Despite their efforts, the regiment's ranks had been depleted, filled with inexperienced recruits, and their leadership nearly obliterated, limiting their effectiveness. Under the relentless assaults from the Japanese forces, their defenses began to falter almost immediately. Faced with the stiff resistance at the Gate of Enlightenment, the Japanese shifted their focus to the Chinese Gate on December 11. Japanese aircraft were summoned for tactical air support, forcing the 88th Division's defenders to retreat behind the wall. This withdrawal occurred swiftly and somewhat chaotically, allowing the Japanese to pursue closely. Before the Chinese could regroup, 300 Japanese soldiers had breached the wall. Only the mobilization of all available forces enabled the Chinese to push the attackers back outside. Meanwhile, the left flank of the 88th Division, stationed east of Chinese Gate, remained outside the wall. Here, they clashed with elements of the 9th Japanese Division but faced intense pressure and were compelled to fall back. By the end of the day, the Chinese division had shortened its defensive line, regrouping in front of the city wall. Plans for a nighttime counterattack were ultimately abandoned, as it became clear that the division's soldiers were too fatigued to mount an effective offensive. Overall, it proved to be a successful day for the Japanese 10th Army. Further south, the Kunisaki Detachment successfully crossed the Yangtze River at Cihu village, beginning their advance toward Pukou. Its special amphibious training made the detachment ideally suited for the operation, but its limited numbers, essentially a reinforced infantry regiment, raised concerns at field headquarters about whether it could accomplish the task alone. Prince Asaka proposed transporting part of the 13th Division across the Yangtze further north to sever the railway connecting Tianjin to Pukou, cutting off a potential retreat route for Chinese forces that had escaped Nanjing.  On December 11, Japanese artillery shells rained down relentlessly, targeting both the interior and exterior of Nanjing's city walls. Administrators of the Safety Zone were alarmed to witness several shells landing perilously close to its southern edge. In a bid to provide some semblance of security, American and foreign flags were raised around the zone's perimeter, though their protective influence against artillery fire from miles away was negligible. The leaders of the Safety Zone faced an unexpected dilemma: how to handle lawbreakers with the city courts now out of operation. That day, they encountered a thief caught in the act. As Rabe noted in his diary “We sentence the thief to death, then pardon him and reduce his punishment to 24 hours in jail, and ultimately, due to the absence of a jail, we simply let him go”. Refugees continued to pour in, with a total of 850 having found shelter at Ginling College. Vautrin and her colleagues began to feel that their initial estimate of 2,700 women and children seeking refuge on the campus was overly optimistic. They were soon proven wrong. On the banks of the Yangtze River, hundreds of injured soldiers and civilians were lining up to be ferried across to Pukou, where trains awaited to transport them further inland and away from danger. Many had been waiting for days without food. While ferries made continuous trips across the river to rescue as many as possible, the process was painfully slow. As of late December 10, approximately 1,500 wounded civilians remained stranded on the south bank of the Yangtze. The Japanese forces were confronted by a fiercely determined enemy composed largely of young soldiers from the Training Division. These soldiers had the advantage of having been stationed near Purple Mountain for several years, making them familiar with the terrain. Additionally, they were part of an elite unit, groomed not just in equipment and training but also instilled with a sense of nationalism rooted in Chiang Kai-shek's ideology. Li Xikai, the commander of the division's 3rd Regiment, had set up his command post directly in the path of the primary Japanese advance, yet his regiment continued to resist. Despite the fierce resistance, the Japanese gradually gained control over the Purple Mountain area. General Nakajima Kesago, commander of the 16th Division, visited an artillery observation post early in the day and was pleased to receive reports that his troops had captured two peaks of Purple Mountain and were poised to take the main peak.  Yet there loomed a problem on Nakajima's right flank. A widening gap was emerging between the 16th Division and the 13th Division, which had advanced along the southern bank of the Yangtze. There was a risk that Chinese forces could escape through this lightly guarded area. The 13th Division was stationed in the strategically important river port city of Zhenjiang, preparing to cross the Yangtze. The Central China Area Army ordered the 13th Division to mobilize three infantry battalions and one artillery battalion. This new formation, known as the Yamada Detachment after its commander, Yamada Senji, was tasked with remaining on the Yangtze's south bank and advancing westward to capture two Chinese fortresses on the river: Mt. Wulong and Mt. Mufu. This redeployment alleviated concerns about the gap, allowing the 16th Division to focus on the city wall. As the sun dipped towards the horizon, one Captain Akao Junzo prepared for what he believed would be his final assault. He had been ordered to seize a hill northeast of Sun Yat-sen Gate that overlooked the city entrance. His commander told him “The attack on Nanjing will likely be the last battle of this war, and I hope your company can be at the front when the enemy's lines are breached”. The hill was fortified with numerous machine gun positions, reinforced with mud, bricks, and tiles, and connected by an intricate network of trenches. Dense rows of barbed wire lay before the positions, designed to halt attackers and expose them to machine-gun fire. Additionally, the area was likely heavily mined, and Chinese soldiers maintained a high level of alertness. Akao knew this all too well; when he crawled forward and slightly lifted his head to survey the landscape, he triggered a hail of bullets, one of which grazed his helmet. Around late afternoon, four mountain guns from the regimental artillery began firing on the Chinese positions, sustaining the bombardment for over an hour. By 5:00 pm, as the winter sky darkened, Akao decided it was time to launch the attack. Expecting close-quarters combat, he instructed his men to carry only their rifles and small entrenchment tools. With the entire company poised to move, he dispatched a small group of soldiers ahead to cut openings in the barbed wire while receiving covering fire from the mountain guns and the rifles and machine guns of their comrades. The remainder of the company advanced with swords raised and bayonets fixed. As they approached within about 700 feet of the enemy positions, the artillery bombardment ceased as planned. The enemy, still reeling from the ferocity of the earlier assault, scrambled in a panic from their trenches, retreating in disarray. Akao and his fellow soldiers pressed forward, cutting down any opposition in their path. Seizing the momentum, Akao charged to occupy the hill that had been his target. He found it deserted upon his arrival and sent a triumphant message back to command, reporting that the objective had been achieved. However, the reply he received left him baffled: he was ordered to withdraw with his company and return to their lines. Apparently, the regimental command deemed the position too precarious. Sensing that a precious advantage was being squandered, Akao disregarded the order. Before his company could establish a defensive position on the hill, the Chinese launched a counterattack. Lying down, the Japanese soldiers returned fire while frantically digging into the earth to fortify their position. Gradually, they began to form a rudimentary perimeter at the summit. The fighting continued into the night. Exhausted from days without sleep, many soldiers rotated between guard duty and rest, dozing off intermittently in their shallow trenches, reassuring one another that everything would be alright before drifting back to sleep. They successfully repelled all attempts by the Chinese to reclaim the hill and were eventually relieved. On December 11, after leaving his capital, Chiang Kai-shek took time to reflect on everything that had happened in his diary. He reassured himself that his nationalist revolution would persist, regardless of whether he held Nanjing, “Temporary defeat can be turned into eventual victory.” Yet he did not fear so much the Japanese invasion itself, but rather how the weakening of his nationalist government might allow the Communists to rise. He wrote about how his nation was on the brink of becoming a second Spain. While foreign invasions were undoubtedly disastrous, they could eventually be overcome, if not immediately, then over years or decades. Sometimes, this could be achieved merely by absorbing the outmatched invader and assimilating them into Chinese society. In contrast, internal unrest posed a far more fundamental threat to the survival of any regime. As we have seen in this series, going back to the mid 19th century, was it the foreign empires of Britain, France and Russia that threatened to destroy the Qing dynasty, or was it the internal civil war brought on by the Taiping? As Chiang famously put it “the Japanese were a treatable disease of the skin. Communism however was a disease of the heart”. Chiang could accept a humiliating but rapid retreat from Nanjing. In his view, it would be far more difficult to recover from a bloody yet futile struggle for the city that might cost him what remained of his best troops. A prolonged defensive battle, he reasoned, would be a tragic waste and could shift the balance of power decisively in favor of the Communists. This new mindset was reflected in a telegram he sent late on December 11 to Tang Shengzhi: “If the situation becomes untenable, it is permissible to find the opportune moment to retreat to regroup in the rear in anticipation of future counterattacks.” On December 12, tankettes cautiously plunged into the Yuhuatai plateau. Unexpectedly the Chinese defenders abandoned their positions and rushed down the hillside toward Nanjing's walls. Upon discovering this, the Japanese tankettes opened fire on the retreating Chinese, cutting swathes through the masses and sending bodies tumbling down the slope. Some Japanese infantry caught up, joining in the slaughter and laughing boisterously as they reveled in the chaos. A tankette column escorted a group of engineers to the Nanjing wall and then drove east along the moat until they reached a large gate, flanked by two smaller openings, all securely shut. A chilling message, painted in blue, adorned the gate's surface. Written in Chinese characters, it conveyed a stark warning: “We Swear Revenge on the Enemy.” The wall itself loomed three stories high, but Japanese artillery was already targeting it, this was known as the Chinese Gate. Now that Yuhuatai was virtually in Japanese hands, capturing the gate had become the primary objective. At this location, the wall stood 70 feet tall, protected by a 100-foot moat to the outside. All bridges spanning the moat had been destroyed. The area around the gate was heavily defended, with approximately one machine gun positioned every 50 yards atop the wall. Inside, the gate was reinforced with a formidable barrier of sandbags. Chinese infantry armed with mortars and small arms could fire down on the Japanese attackers while others had established isolated positions in nearby buildings that had survived the “scorched earth” policy. Taking the gate and the heavily fortified southwestern corner of the wall was the responsibility of the 6th Division. The division was deploying its regiments: the 13th, the 47th, and the 23rd from east to west. The 45th Regiment, the final unit of the division, was tasked with skirting the western side of the wall and advancing northward, aiming for the Yangtze docks at Xiaguan. The soldiers of the division had already formed a rough understanding of the formidable defenses they were facing. During the night between December 11 and 12, they had advanced nearly to the wall, gathering intelligence to prepare for an assault at dawn. As planned, the assault commenced. Field artillery fired round after round at the gate, but the wall sustained minimal damage. A Japanese tank rolled up, firing point-blank at the gate but producing no visible effect. Next, it was the engineers' turn. A “dare-to-die” squad, equipped with long ladders, crept as close to the wall as possible without exposing themselves and then sprinted the final distance. The moment they broke into the open, a Chinese machine gun opened fire, cutting them down to the last man. At noon, three Japanese planes soared overhead, dropping bombs near a Chinese-held building outside the gate. The smoke from the resulting fire briefly obscured the area. Seizing the opportunity presented by the reduced visibility, a large group of Chinese soldiers holed up inside attempted to dash back to the wall. The Japanese spotted their movement instantly, and every soldier in the line opened fire. The fleeing Chinese were mowed down like ripe grass, collapsing in heaps.  Meanwhile the battle for the Gate of Enlightenment was drawing to a close. On the Chinese side of the wall, confusion reigned regarding the overall situation on December 12. Chen Yiding, brigade commander of the 87th Division, had been warned that heads would roll if the Gate of Enlightenment fell to the Japanese. Hearing the sounds of fierce fighting on the edges of Yuhuatai and seeing the smoke rise from numerous fires on Purple Mountain, he was left in the dark about their implications, surrounded by the fog of war. Chen's troops had finally managed to establish a telephone link to the rear, but by mid-afternoon, it was cut off, likely due to a stray artillery shell. After dark, Chen sent an officer to his left flank to make contact with the Chinese forces there. The report that followed was far from reassuring. A unit from Guangdong Province was abandoning its positions and retreating north, attempting to exit the capital through one of the gates in the city wall. The officer had attempted to inquire about their destination, but the retreating soldiers ignored him. With neighboring units evacuating autonomously, a significant gap was opening in the Chinese line atop the wall between the Gate of Enlightenment and Sun Yat-sen Gate. A frightening possibility emerged: the Japanese could walk right in across the undefended southeastern corner of the city wall and surround Chen Yiding's troops before they had a chance to withdraw. The situation was becoming untenable, a fact underscored by the artillery fire raining down on Chen's position. Despite this, retreat was not a simple decision for Chen and the other commanders of the 87th Division. They had been garrisoned in Nanjing before the war, and the city had become home to many of the soldiers. Shortly after midnight, Chen called a meeting with his senior officers. After considerable discussion, they concluded that they had no choice but to withdraw. Nonetheless, Chen insisted that everyone sign a document confirming their support for this decision, recognizing the potential danger of taking such a significant step without consensus. After all, his own life had been threatened if the situation deteriorated further. Soon after, the Chinese began to move out of their positions. The Japanese were initially unaware of the retreat; all they noticed during the night between December 12 and 13 was that the Chinese artillery fire began to grow increasingly distant. By 4:00 am it had stopped completely. The few remaining Chinese were quickly overwhelmed and killed. In the end, the gate, which had cost so many lives during the seemingly endless battle, was taken almost effortlessly by the Japanese. Soldiers of the 9th Division, stationed outside the wall, scrambled up the slope created by the previous days' shelling. Once at the top, they thrust their hands into the air, shouting “Banzai!” so loudly that they believed their families back home in Japan might hear them. Tears streamed down their faces as soldiers embraced and shook hands, reflecting on the friends they had lost throughout the months of fighting, from Shanghai to their current position. They reassured each other that their sacrifices had been worth it for this very moment. On December 12,  the slopes of Purple Mountain  were ablaze. Zhou Zhenqiang, commander of the Training Division's 1st Brigade, led his men in a desperate struggle to maintain control of the mountain's forested peaks. However, they were being overwhelmed by the better-equipped Japanese troops, and Zhou knew it was only a matter of time before he would have to relinquish his position. Zhou found himself unable to obtain any information from his superiors about the overall situation, despite repeated attempts to contact the Training Division's headquarters. He dispatched a runner, who returned a few hours later with disheartening news: the divisional commander had left late in the afternoon. Other reports indicated a general breakdown in command. The elite 88th Division was in disarray, and an entire division of Guangdong troops, that being the same force that had abandoned the wall near the Gate of Enlightenment, had been spotted marching out of the Gate of Great Peace, seemingly intent on returning home. With indications of collapse all around him, Zhou decided to execute an orderly withdrawal from Purple Mountain, leaving a small contingent behind to cover the retreat. His troops entered through the city wall at Sun Yat-sen Gate and marched in disciplined columns through the streets of Nanjing, where signs of imminent anarchy were evident. Chinese soldiers were scattered everywhere, speaking a cacophony of dialects, yet they appeared to lack any coherent command. Tang Shengzhi's grip on the situation was weakening. Meanwhile Japan's 13th Air Group had been busy with the final stages of the battle for Nanjing.  In the morning of December 12, after raiding Chinese positions at Sun Yat-sen Gate, they  received new orders. Intelligence indicated that Chinese ships, laden with troops, were moving up the Yangtze from Nanjing. Japanese infantry on the ground could only watch as this prize slipped through their fingers, and the army requested air support. All available planes at Changzhou, a mix of A4N fighters and Yokosuka B4Y bombers, totaling 24 aircraft, were assembled for the crucial mission. The day was clear, providing excellent visibility as the pilots headed toward the section of the Yangtze where they believed the vessels would be, based on reasonable assumptions about their speed. At 1:30 p.m., 28 nautical miles upriver from Nanjing, the pilots sighted four ships. Trusting their military intelligence, they saw no need for further identification. Initially, the B4Ys bombed the vessels from a considerable height. One bomb struck the lead ship, a military vessel, disabling its forward gun and snapping the foremast. Then, a first wave of six A4Ns dove down over the line of ships, attacking individually. In total, they dropped about 20 bombs. Several exploded close enough to the lead vessel to damage its hull and injure crew members on deck. A 30-caliber machine gun on board was manned, with gunners stripped to the waist firing at the Japanese planes but failing to score a hit. Several of the A4Ns strafed the ship with machine-gun fire. After 20 minutes of sustained bombing and strafing, the result was utter devastation. The lead vessel was stuck in mid-river, riddled with bullets, aflame, and listing to starboard. Two other ships were beached on the right bank, while another sat stranded on the left. Satisfied with their mission, the Japanese aviators broke off and returned to their temporary base. Upon their landing in Changzhou, instead of receiving accolades, the pilots were met with reprimands. Why hadn't they sunk all the vessels? They were ordered to return immediately to finish the job. Though they didn't find the original targets, they stumbled upon four other vessels closer to Nanjing. One aircraft dove toward the ships, releasing a 60-kilogram bomb that struck one vessel. As the pilot pulled up, he caught sight of the Union Jack on the hull and realized his mistake; he had inadvertently targeted neutral ships. The other pilots recognized the significance of the markings as well and withheld their bombs. The vessel was identified as the SS Wantung. Soon after, the Japanese pilots understood that the ships they had attacked earlier upriver from Nanjing were also Western; three of them were Standard Oil tankers. The last vessel, which had sustained the most damage, was the USS Panay, a lightly armed flat-bottomed gunboat,  tasked with protecting American lives and property along China's longest river. The Panay had been instrumental in evacuating American citizens from the war zone in November and December. On the day it was attacked, the Panay was carrying four American embassy personnel and ten American and foreign journalists to safety. The ship's doctor converted the engine room into a makeshift sick bay, treating a steady stream of injured personnel. By the end, he was tending to 45 patients. The soldiers and passengers were evacuated in two small boats to a nearby marshy island covered in reeds, where they hid, fearful of further strafing. From their hiding place, they watched as a Japanese powerboat filled with soldiers approached the Panay. After firing more volleys at the vessel, the soldiers boarded it, remaining for only five minutes before departing. The American flag still flew from the bow at that time. At 3:54 pm, the Panay rolled over to starboard and sank in seven to ten fathoms of water. Cold and frightened, the survivors waded through knee-deep mud to a nearby village, assisting those too severely wounded to walk.  Meanwhile back at Chinese Gate, the mutual slaughter continued into the afternoon of December 12. The Japanese made no significant progress, although their failure was not for lack of trying. The commanders of the 6th Division had strategically placed the boundary between the 13th and 47th Regiments exactly at the gate, encouraging both units to compete to be the first to seize the position. Yet, despite their efforts, it became clear that willpower alone was not enough to breach the Chinese defenses at Chinese Gate. In peacetime, Nanjing's city gates served as entry points into a bustling capital, but in wartime, they transformed into heavily fortified and nearly impregnable strongholds. Any Japanese officer hoping for a swift victory would soon be disappointed; by early afternoon, the situation at the gate had devolved into a stalemate. The section of the wall manned by the 47th Infantry Regiment, located east of the gate, also saw little meaningful movement as the day wore on. Japanese soldiers, pinned down by Chinese fire from atop the wall, could do little more than take pride in a symbolic triumph. A small group of soldiers had managed to reach the wall and place a ladder against it, but it fell nearly ten feet short of the top. One soldier skillfully scaled the last portion, gripping protruding bricks and crevices of the nearly vertical surface. The entire Japanese front watched him with bated breath. He reached the top and unfurled a Japanese flag, but it immediately drew intense Chinese fire, forcing him to duck for cover. Soon, he vanished from sight, raising concerns among his compatriots about his fate. Later, it was revealed that he had taken refuge in a depression in the wall, waiting out the battle. The real breakthrough of the day would occur west of the gate. The 23rd Regiment was deployed there with orders to capture sections of the wall near the southwestern corner. It became evident that the wall could not be scaled without first bringing up artillery to create gaps in its solid masonry. A significant portion of the divisional fire support, 36 small-caliber mountain guns, four 100mm howitzers, and four 150mm howitzers, was assigned to this section. Artillery observers were also sent to the 23rd Regiment's forward command post to coordinate with the infantry and assess the effects of the shelling. By mid-afternoon, the artillery bombardment had created a ravine-like hole in the wall large enough for an assault. The 23rd Regiment positioned its 2nd and 3rd Battalions at the front, with the 1st Battalion held in reserve. First, the engineers undertook the challenging task. As the assault commenced, the rest of the regiment provided covering fire to force the Chinese defenders to seek shelter while the engineers charged into the 70-foot-wide moat. Once a human chain formed, they held up ladders as a makeshift bridge, allowing a company from the 3rd Battalion to rush across and into the gap in the wall. As the batteries switched to close infantry support, they laid down a barrage around the breach to prevent Chinese interference as the attack entered its decisive phase. The Japanese soldiers scrambled up the rubble, created by the artillery fire, which rose several dozen feet high. Shortly before 5:00 p.m., the Japanese seized control of the southwestern segment of the wall. The Chinese launched several counterattacks to reclaim the position, but none were successful. This action ultimately sealed Nanjing's fate; beyond the wall, there was nothing left to save the ancient city and its inhabitants. As defeat appeared imminent, more and more civilians sought safety in foreign-controlled areas, though danger still loomed large. Bits of shrapnel narrowly missed Dr. Robert Wilson while he operated in the Safety Zone. Every square foot of John Rabe's property became filled with families, many camping in the open with their own blankets. Some sought refuge under his large swastika flag, believing that this would make the area especially “bomb-proof” given the growing friendship between Tokyo and Berlin; they assumed Japanese aviators would think twice before targeting a region seemingly under German protection. With just hours left before the Japanese Army was expected to gain control, the residents of Nanjing made their last preparations, prioritizing personal survival. The brutal behavior of Japanese troops in conquered territories fueled intense concern over the possible fate of injured soldiers who might fall into enemy hands. As Nanjing's last hours as a free city unfolded, it became imperative for local hospitals to evacuate as many wounded soldiers as possible across the Yangtze. On December 12, doctors found a motorboat stranded on the riverbank, having apparently broken down. They managed to repair it and ferried several hundred patients to safety throughout the day. Throughout December 12, the citizens of Nanjing were subjected to the unsettling cacophony of heavy shelling, mixed with the roar of bombers overhead. By evening, the entire horizon south of the city glowed with flames. The sound of fighting emanated from all directions, continuing long after sunset. However, in the middle of the night, activity began to wan. Every few minutes, the muffled thuds of shells could still be heard, though their origin was unclear. For the most part, an eerie silence prevailed, as if the city was holding its breath in anticipation of the final onslaught. Chiang Kai-shek had indicated he would understand if Tang chose to abandon the capital. However, on December 12, he reversed his stance, sending a telegram to Tang expressing optimism that the Nanjing garrison could hold out significantly longer. In his words “If you do not shy away from sacrifices, you will be able to hold high the banner of our nation and our army, and this could transform defeat into victory. If you can hold out one more day, you will add to the pride of the Chinese nation. If you can hold out for half a month or more, the domestic and international situation could see a substantial change.” Tang adopted a hardline approach toward any signs of defeatism among his troops. When he learned that General Sun Yuanliang, commander of the formerly elite 88th Division, was leading approximately 2,000 men from the Gate of Enlightenment to the dock area, Tang acted swiftly. He dispatched Song Xilian, the commanding general of the 36th Division, to halt the retreat. When the two units met, a fratricidal clash nearly occurred. Fortunately, the 88th Division agreed to return to the gate and continue fighting. Whatever Tang's plans, they were rendered irrelevant at 3:00 pm,  when he received another telegram from Chiang, this time ordering a full retreat. Rumors that the Chinese Army had started evacuating Nanjing triggerec panic among many units. Thousands abandoned their positions and joined the throngs of soldiers and civilians moving slowly down the city's main avenues. The crowd seemed to have collectively decided that getting a boat out of Nanjing was the best option, and by late afternoon, a solid mass of humanity stretched for miles through the city toward the dock areas at Xiaguan. To reach Xiaguan, everyone had to pass through Yijiang Gate. This relatively modern structure had served as the main entry point for visitors arriving in Nanjing by boat in recent decades and now only half of the main entrance was open. A crowd of that size trying to get through such a narrow bottleneck was a recipe for disaster. Those unfortunate enough to be right at the front felt the crushing pressure of tens of thousands of individuals pushing from behind. In that densely packed throng, stumbling and falling to the ground was akin to a death sentence; anyone who went down was inevitably crushed by the oncoming waves of terrified civilians and soldiers. As chaos erupted, discipline evaporated entirely. Officers lost control over their men, leading to infighting among the soldiers. Pushing and shoving escalated into fistfights, and trucks drove directly into the mass of people to force their way through. Tanks, emitting sounds akin to prehistoric beasts, rolled through the mob, crushing many under their weight. Amid the madness, some soldiers, driven by frustration over the lack of movement, began shooting into the crowd at random. To relieve the pressure at Yijiang Gate, some units were ordered to exit Nanjing via the Gate of Great Peace at the northeastern corner of the city wall. Upon arrival, they found the entrance nearly sealed shut. Thick walls of sandbags had been erected around it, leaving only a narrow opening through which one person could pass at a time. Massive crowds fought among themselves to get through; even under perfect order and discipline, it would have taken the entire night and most of the following day for everyone to pass. In the midst of the frantic chaos, it could take a week or more. During the night of the 12th, a select group of Japanese soldiers, chosen for the offensive, stripped their equipment down to the bare essentials: rifles, bayonets, and helmets. They avoided any gear that could produce a metallic noise, alerting the Chinese defenders to their approach. Stealthily, they moved up to the wall, carrying bamboo ladders tied together in threes for added height. Ascending the rungs, they ensured not to make a sound that could betray their position to an alert Chinese sentry. Everything hinged on remaining undetected; even a couple of hand grenades tossed down the wall could halt the attack in its tracks. Reaching the top without being noticed, the soldiers quickly fanned out. Chinese soldiers stationed on the wall saw the swift dark figures and opened fire, but it was too late to thwart the assault. A brief fight ensued; most Japanese soldiers were too close to use their rifles and immediately resorted to their bayonets. The stunned defenders were pushed back, and the successful assault team established a perimeter, awaiting reinforcements from outside the wall. They didn't have to wait long. A massive assault along the length of the 6th Division's front line commenced at dawn on December 13. Japanese artillery concentrated its fire on a narrow section of the city wall, progressively working its way from the bottom up. Gradually, the shells formed a slope of debris that soldiers could use to scale the wall. A short air raid was executed, and after the planes had weakened the remaining resistance, a group of soldiers rushed up the slope. While their comrades provided covering fire, they climbed the last stretch, rolling down a rope ladder. Within minutes, 40 other Japanese soldiers had joined them. By 10:30 am, the Rising Sun flag was flying over the wall. The Japanese invaders were met with a horrific sight at the top of the wall. Beyond lay the grim aftermath of days of shelling. Some houses were leveled, while others burned. The ground was littered with bodies, some decapitated or disemboweled, and pools of blood surrounded them. As Chiang Kai-shek's order to abandon the city gradually filtered down to the troops manning the wall around Nanjing, things began to move rapidly.  By late morning on December 13, all the major entry points into the city had fallen to the Japanese. These included Chinese Gate in the southwest, the Gate of Enlightenment in the south, and Sun Yat-sen Gate in the east. The first thing that struck the Japanese soldiers upon ascending the wall was how starkly different it was from their expectations. They had anticipated a bustling city teeming with people, but instead, the area adjacent to the wall was characterized by farm plots, resembling countryside more than an urban center. The second notable observation was the complete absence of inhabitants. Cautiously, the Japanese soldiers entered the city they had just conquered, their bayonets fixed and rifles at the ready. Yet, surprisingly, very few shots were fired. After weeks of fearing death and injury, once the immediate danger receded, a certain stupor settled in. For most civilians in Nanjing, their initial encounter with the city's new rulers was uneventful. It took several hours for the Japanese to move from the wall into the urban parts of the capital. It was not until around noon that residents noticed the first groups of Japanese soldiers marching down the streets in clusters of six to twelve men. Initially, many met the conquerors with relief, hoping they would be treated fairly. Their optimism was bolstered by Japanese planes dropping leaflets over the city, reassuring residents of humane treatment. 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. On December 9, fierce battles erupted, especially at the Gate of Enlightenment. Despite heavy fighting, the Chinese showed remarkable resilience, turning Nanjing into a symbol of determination. However, the tide shifted as overwhelming Japanese artillery and tactics began to breach defenses. By December 13, as chaos engulfed the city, the invaders claimed victory, but not without significant loss. Civilians, caught amid the destruction, clung to hope amid despair.

George is the cofounder of BUFFs - the world's 1st ever beef puff! https://eatbuffs.co/----Today's show is brought to you by heywell! https://livingheywell.com/The Shane White Show is now proudly brought you by ROUTINE! Head over to yourroutine.com and try their newest product "Morning Routine". Use code "ShaneWhite30" at checkout for 30% off your first order!Today's episode is brought to you by NeuRoast - Mushroom Coffee! Use Code "ShaneWhite" for 30% off your order from Neuroast.comSponsor Links:Routine - http://yourroutine.comNeuRoast - https://www.neuroast.com/Heywell - https://livingheywell.com/----------Helpful Links:Instagram:  @shane.m.whiteTik Tok: @shane.m.whiteNoBul Partners: https://nobulpartners.com/

An audience member spotted a supernatural image in one episode — something the directors and editors hadn’t noticed at all. Mr. Zhou's Ghost Stories Singapore Sightings 2 Episode 5 was filmed at a century-old temple stage. One artiste insisted on donning full costume and makeup to perform for the “unseen audience.” His heartfelt performance was met with sudden gusts of wind and strange phenomena at critical moments; In Episode 6, guest Sean recounted a chilling childhood memory at his aunt’s house, where he saw a dark shadow swiftly pass by. Meanwhile, Jernelle Hu triggered a haunting after bringing back an object from outside, setting off a terrifying chain of events. 观众竟在其中一集发现灵异画面，虽然导演与剪辑团队完全没有察觉；团队分享【周公讲鬼 哪里有鬼2】第五集地点是一个拥有百年以上历史的庙前戏台。有艺人坚持要穿上完整的戏服与妆容，在舞台上为“看不见的观众”表演。他全程投入，过程中却在关键时刻不断出现大风与异象；第六集嘉宾Sean分享了童年在阿姨家经历的可怕事件 - 看到一个黑影迅速掠过；胡煜诗则因为从外面带回一件物品而引发灵异事件...See omnystudio.com/listener for privacy information.

Step into the world of dark magic as our guests share their encounters with kumanthongs, spirit amulets, and other supernatural forces. 你听说过会吃醋的小鬼、爱恶作剧的小鬼，甚至会帮你看家的小鬼吗？为了求财、求美、求爱，人们甘愿寻求灵异加持——但背后潜藏的代价又是什么？See omnystudio.com/listener for privacy information.

Due to land scarcity, the dead often make way for the living. In Singapore, this means we sometimes find ourselves living among—or even directly above—former cemeteries. But does that mean we’re more likely to see ghosts? 新加坡土地缺乏，为了给活人生活空间，死人常常需要让路。你住的地方，工作的地方或许就在坟场旁边，甚至可能之上。生活在这样的地方会不会增加我们见鬼的几率？See omnystudio.com/listener for privacy information.

In some local cultures, it’s commonly believed that children are more likely to experience hauntings. If that’s true, could places where children gather—like playgrounds—be more likely to attract spirits too? 不少民間習俗會有「小孩子比較容易看見鬼」的說法。那小孩多的地方是不是就可能更容易吸引到灵体聚，比如说游乐场？See omnystudio.com/listener for privacy information.

These days, we film on location more often than in the studio. Some of these places come with their own histories—and even horror stories. Filming in such locations raises an intriguing question: does it increase the chances of paranormal encounters? 拍戏常常就会拉队到外景去拍摄。而有些拍摄地点，背后可能隐藏让人毛骨悚然的故事。在这样的地方拍摄，碰到灵异事件的几率会不会更高？See omnystudio.com/listener for privacy information.

„Ausdauer killt deine Gains?“ – das ist einer der hartnäckigsten Mythen im Training. In dieser Folge klären wir, was wirklich hinter dem Interferenz-Effekt steckt, welche Fehler du vermeiden solltest und wie du Kraft- und Ausdauertraining so kombinierst, dass du stark und ausdauernd wirst.Darum geht's in dieser Folge:❌ Die größten Irrtümer über den Interferenz-Effekt⏱️ Warum Abstand und Reihenfolge entscheidend sind

In this episode, Dr. Xiaofei Zhou, Associate Program Director of Neurosurgery at University Hospitals, discusses her journey into endoscopic spine surgery, her priorities for advancing education and patient care, and how collaboration and innovation are shaping the future of minimally invasive spine procedures.

Daphne and Gina welcome for his fourth time on the podcast Olympic gold medalist Vincent Zhou. The three talk about the 2025 World Championships and the 2025-2026 Olympic season.Follow Vincent on Instagram. ---------------This Week in Skating is hosted by Gina Capellazzi, Daphne Backman and Matteo Morelli is a cooperative project between Figure Skaters Online and Ice-dance.com. New episodes are available every Tuesday.Website: https://www.thisweekinskating.comEmail: thisweekinskating@gmail.comFacebook: https://www.facebook.com/thisweekinskatingTwitter: https://www.twitter.com/thiswkinskatingInstagram: https://www.instagram.com/thisweekinskatingThread: https://www.threads.net/@thisweekinskatingPatreon: patreon.com/ThisWeekinSkatingSupport this podcast at — https://redcircle.com/this-week-in-skating-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

En este episodio exploramos a fondo el mutismo acinético, una de las manifestaciones más desconcertantes tras un daño cerebral grave. Hablamos de su base neurofisiológica, su relación con el sistema dopaminérgico y los circuitos prefronto-subcorticales, y cómo se diferencia clínicamente de otros estados de conciencia alterada. Recorremos también las opciones terapéuticas más prometedoras, desde la estimulación multisensorial y la verticalización robótica hasta técnicas de neuromodulación como la estimulación cerebral profunda, la estimulación medular o la tDCS. Un episodio técnico, narrativo y lleno de preguntas clínicas clave, pensado para quienes trabajan día a día con pacientes que aún no responden... pero que podrían hacerlo. Referencias del episodio: 1. Arnts, H., van Erp, W. S., Lavrijsen, J. C. M., van Gaal, S., Groenewegen, H. J., & van den Munckhof, P. (2020). On the pathophysiology and treatment of akinetic mutism. Neuroscience and biobehavioral reviews, 112, 270–278. https://doi.org/10.1016/j.neubiorev.2020.02.006 8 https://pubmed.ncbi.nlm.nih.gov/32044373/). 2. Arnts, H., Tewarie, P., van Erp, W. S., Overbeek, B. U., Stam, C. J., Lavrijsen, J. C. M., Booij, J., Vandertop, W. P., Schuurman, R., Hillebrand, A., & van den Munckhof, P. (2022). Clinical and neurophysiological effects of central thalamic deep brain stimulation in the minimally conscious state after severe brain injury. Scientific reports, 12(1), 12932. https://doi.org/10.1038/s41598-022-16470-2 (https://pubmed.ncbi.nlm.nih.gov/35902627/). 3. Arnts, H., Tewarie, P., van Erp, W., Schuurman, R., Boon, L. I., Pennartz, C. M. A., Stam, C. J., Hillebrand, A., & van den Munckhof, P. (2024). Deep brain stimulation of the central thalamus restores arousal and motivation in a zolpidem-responsive patient with akinetic mutism after severe brain injury. Scientific reports, 14(1), 2950. https://doi.org/10.1038/s41598-024-52267-1 (https://pubmed.ncbi.nlm.nih.gov/38316863/). 4. Bai, Y., Xia, X., Li, X., Wang, Y., Yang, Y., Liu, Y., Liang, Z., & He, J. (2017). Spinal cord stimulation modulates frontal delta and gamma in patients of minimally consciousness state. Neuroscience, 346, 247–254. https://doi.org/10.1016/j.neuroscience.2017.01.036 (https://pubmed.ncbi.nlm.nih.gov/28147246/). 5. Bai, Y., Xia, X., Liang, Z., Wang, Y., Yang, Y., He, J., & Li, X. (2017). Corrigendum: Frontal Connectivity in EEG Gamma (30-45 Hz) Respond to Spinal Cord Stimulation in Minimally Conscious State Patients. Frontiers in cellular neuroscience, 11, 251. https://doi.org/10.3389/fncel.2017.00251 (https://pubmed.ncbi.nlm.nih.gov/28828002/). 6. Bai, Y., Lin, Y., & Ziemann, U. (2021). Managing disorders of consciousness: the role of electroencephalography. Journal of neurology, 268(11), 4033–4065. https://doi.org/10.1007/s00415-020-10095-z (https://pubmed.ncbi.nlm.nih.gov/32915309/). 7. Cairns, H., Oldfield, R. C., Pennybacker, J. B., & Whitteridge, D. (1941). Akinetic mutism with an epidermoid cyst of the 3rd ventricle. Brain, 64(4), 273–290 (https://academic.oup.com/brain/article-abstract/64/4/273/332088?redirectedFrom=fulltext). 8. Chen, Q., Huang, W., Tang, J., Ye, G., Meng, H., Jiang, Q., Ge, L., Li, H., Liu, L., Jiang, Q., & Wang, D. (2025). Reviving consciousness: The impact of short-term spinal cord stimulation on patients with early-onset prolonged disorders of consciousness. Journal of Neurorestoratology, 13(1), 100143. https://doi.org/10.1016/j.jnrt.2024.100143 (https://www.sciencedirect.com/science/article/pii/S2324242624000500?via%3Dihub). 9. Clavo, B., Robaina, F., Montz, R., Carames, M. A., Otermin, E., & Carreras, J. L. (2008). Effect of cervical spinal cord stimulation on cerebral glucose metabolism. 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Robotic Verticalization plus Music Therapy in Chronic Disorders of Consciousness: Promising Results from a Pilot Study. Brain sciences, 12(8), 1045. https://doi.org/10.3390/brainsci12081045 (https://pubmed.ncbi.nlm.nih.gov/36009107/). 13. Dong, X., Tang, Y., Zhou, Y., & Feng, Z. (2023). Stimulation of vagus nerve for patients with disorders of consciousness: a systematic review. Frontiers in neuroscience, 17, 1257378. https://doi.org/10.3389/fnins.2023.1257378 (https://pubmed.ncbi.nlm.nih.gov/37781261/). 14. Fan, W., Fan, Y., Liao, Z., & Yin, Y. (2023). Effect of Transcranial Direct Current Stimulation on Patients With Disorders of Consciousness: A Systematic Review and Meta-analysis. American journal of physical medicine & rehabilitation, 102(12), 1102–1110. https://doi.org/10.1097/PHM.0000000000002290 (https://pubmed.ncbi.nlm.nih.gov/37205736/). 15. Frazzitta, G., Zivi, I., Valsecchi, R., Bonini, S., Maffia, S., Molatore, K., Sebastianelli, L., Zarucchi, A., Matteri, D., Ercoli, G., Maestri, R., & Saltuari, L. (2016). Effectiveness of a Very Early Stepping Verticalization Protocol in Severe Acquired Brain Injured Patients: A Randomized Pilot Study in ICU. PloS one, 11(7), e0158030. https://doi.org/10.1371/journal.pone.0158030 (https://pubmed.ncbi.nlm.nih.gov/27447483/). 16. Jang, S. H., & Byun, D. H. (2022). A Review of Studies on the Role of Diffusion Tensor Magnetic Resonance Imaging Tractography in the Evaluation of the Fronto-Subcortical Circuit in Patients with Akinetic Mutism. Medical science monitor : international medical journal of experimental and clinical research, 28, e936251. https://doi.org/10.12659/MSM.936251 (https://pubmed.ncbi.nlm.nih.gov/35181647/). 17. Lombardi, F., Taricco, M., De Tanti, A., Telaro, E., & Liberati, A. (2002). Sensory stimulation for brain injured individuals in coma or vegetative state. The Cochrane database of systematic reviews, 2002(2), CD001427. https://doi.org/10.1002/14651858.CD001427 (https://pmc.ncbi.nlm.nih.gov/articles/PMC7045727/). 18. Magee, W. L., & O'Kelly, J. (2015). Music therapy with disorders of consciousness: current evidence and emergent evidence-based practice. Annals of the New York Academy of Sciences, 1337, 256–262. https://doi.org/10.1111/nyas.12633 (https://pubmed.ncbi.nlm.nih.gov/25773642/). 19. Mateo-Sierra, O., Gutiérrez, F.A., Fernández-Carballal, C., Pinilla, D., Mosqueira, B., Iza, B., & Carrillo, R.. (2005). Mutismo acinético relacionado con hidrocefalia y cirugía cerebelosa tratado con bromocriptina y efedrina: revisión fisiopatológica. Neurocirugía, 16(2), 134-141. (https://scielo.isciii.es/scielo.php?script=sci_arttext&pid=S1130-14732005000200005). 20. Noé, E., Ferri, J., Colomer, C., Moliner, B., O'Valle, M., Ugart, P., Rodriguez, C., & Llorens, R. (2020). Feasibility, safety and efficacy of transauricular vagus nerve stimulation in a cohort of patients with disorders of consciousness. Brain stimulation, 13(2), 427–429. https://doi.org/10.1016/j.brs.2019.12.005 (https://pubmed.ncbi.nlm.nih.gov/31866491/). 21. Norwood, M. F., Lakhani, A., Watling, D. P., Marsh, C. H., & Zeeman, H. (2023). Efficacy of Multimodal Sensory Therapy in Adult Acquired Brain Injury: A Systematic Review. Neuropsychology review, 33(4), 693–713. https://doi.org/10.1007/s11065-022-09560-5 (https://pubmed.ncbi.nlm.nih.gov/36056243/). 22. O'Neal, C. M., Schroeder, L. N., Wells, A. A., Chen, S., Stephens, T. M., Glenn, C. A., & Conner, A. K. (2021). Patient Outcomes in Disorders of Consciousness Following Transcranial Magnetic Stimulation: A Systematic Review and Meta-Analysis of Individual Patient Data. Frontiers in neurology, 12, 694970. https://doi.org/10.3389/fneur.2021.694970 (https://pubmed.ncbi.nlm.nih.gov/34475848/). 23. Schiff, N. D., Giacino, J. T., Kalmar, K., Victor, J. D., Baker, K., Gerber, M., Fritz, B., Eisenberg, B., Biondi, T., O'Connor, J., Kobylarz, E. J., Farris, S., Machado, A., McCagg, C., Plum, F., Fins, J. J., & Rezai, A. R. (2007). Behavioural improvements with thalamic stimulation after severe traumatic brain injury. Nature, 448(7153), 600–603. https://doi.org/10.1038/nature06041 (https://pubmed.ncbi.nlm.nih.gov/17671503/). 24. Schiff N. D. (2016). Central thalamic deep brain stimulation to support anterior forebrain mesocircuit function in the severely injured brain. Journal of neural transmission (Vienna, Austria : 1996), 123(7), 797–806. https://doi.org/10.1007/s00702-016-1547-0 (https://pubmed.ncbi.nlm.nih.gov/27113938/). 25. Schiff N. D. (2023). Mesocircuit mechanisms in the diagnosis and treatment of disorders of consciousness. Presse medicale (Paris, France : 1983), 52(2), 104161. https://doi.org/10.1016/j.lpm.2022.104161 (https://pubmed.ncbi.nlm.nih.gov/36563999/). 26. Shimojo, S., & Shams, L. (2001). 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Blasian March Founder Rohan Zhou-Lee is an award-winning dancer, writer, speaker, curator, and community organizer. In 2024, they co-curated the Critical Connections exhibit with the Pace University Art Gallery and the George Stephanopoulos photo collection of the Civil Rights Era. In 2023, they became the first mixed race Black Asian admitted to the Open City Fellowship for Journalism at the Asian American Writers' Workshop. They are also a recipient of the 2024 PEN American US Writers' Aid Initiative, 2023 FIYAH Rest Grant, 2023 New Yorkers for Culture and The Arts, 2022 Bandung Resident, they have written for Newsweek, Hyperallergic, Truthout, and more. They have performed poetry and dance as a reflection of their activism in the United States and the 2022 Unite Festival in Zürich, Switzerland. Spotlight features include CNN, NBC Chicago, USA Today, WNYC, AJ+, and more. Zhou-Lee has spoken at Harvard University, New York University, Yale University, Oberlin College, The University of Tokyo, the 2022 Unite and Enough Festivals in Zürich, Switzerland, and more.As a performing artist, major credits include:  Julius Eastman's Joy Boy on trumpet (ChamberQUEER, 2021,) and for dance: Lovecraft Country (HBO, 2018) François & The Rebels (Public Theatre, 2023,) Over Here! (Triad Theatre, Off-Broadway debut, 2019) West Side Story (New Bedford Theatre Festival, 2018) and Bluebird from Sleeping Beauty (Victoria Ballet Theatre, 2019.)Zhou-Lee holds a Bachelor of the Arts in Ethnomusicology from Northwestern University. Pronouns: They | Siya | 祂 | Elle, gender identity: Firebird.Welcome to 차 with Laura and Leah! Cha is a podcast and video series featuring conversations with our friends over tea. We are two diasporic Korean women who were inspired by Nina Simone's quote, “An artist's duty is to reflect the times.” Cha is our offering to the collective and we hope our conversations inspire you to start having meaningful dialogues and reflections with your own communities. So make sure to brew a pot of cha and join our conversations about art, spirituality, culture, and liberation. Links Cha with Laura and Leah https://open.spotify.com/show/1z194Dm1oJ1U9GzqvJ0dT9?si=b3effad8f6484e57Firebird's Instagramhttps://www.instagram.com/diaryofafirebird/Firebird's Websitehttps://www.diaryofafirebird.com/Laura Instagramhttps://www.instagram.com/iamlaurachung/Laura Websitehttps://www.laurakchung.com/Laura YouTubehttps://www.youtube.com/@LaurakchungLeah Instagramhttps://www.instagram.com/leahsoojinkim/Leah Substackhttps://leahkim.substack.com/Leah YouTubehttps://www.youtube.com/@leahsoojinkim⁩  Links Support us on Cha's Patreon https://rb.gy/g6vtbmVenmo: http://bitly.ws/iXCSPaypal: http://bitly.ws/iXCb

Blasian March Founder Rohan Zhou-Lee is an award-winning dancer, writer, speaker, curator, and community organizer. In 2024, they co-curated the Critical Connections exhibit with the Pace University Art Gallery and the George Stephanopoulos photo collection of the Civil Rights Era. In 2023, they became the first mixed race Black Asian admitted to the Open City Fellowship for Journalism at the Asian American Writers' Workshop. They are also a recipient of the 2024 PEN American US Writers' Aid Initiative, 2023 FIYAH Rest Grant, 2023 New Yorkers for Culture and The Arts, 2022 Bandung Resident, they have written for Newsweek, Hyperallergic, Truthout, and more. They have performed poetry and dance as a reflection of their activism in the United States and the 2022 Unite Festival in Zürich, Switzerland. Spotlight features include CNN, NBC Chicago, USA Today, WNYC, AJ+, and more. Zhou-Lee has spoken at Harvard University, New York University, Yale University, Oberlin College, The University of Tokyo, the 2022 Unite and Enough Festivals in Zürich, Switzerland, and more.As a performing artist, major credits include:  Julius Eastman's Joy Boy on trumpet (ChamberQUEER, 2021,) and for dance: Lovecraft Country (HBO, 2018) François & The Rebels (Public Theatre, 2023,) Over Here! (Triad Theatre, Off-Broadway debut, 2019) West Side Story (New Bedford Theatre Festival, 2018) and Bluebird from Sleeping Beauty (Victoria Ballet Theatre, 2019.)Zhou-Lee holds a Bachelor of the Arts in Ethnomusicology from Northwestern University. Pronouns: They | Siya | 祂 | Elle, gender identity: Firebird.Welcome to 차 with Laura and Leah! Cha is a podcast and video series featuring conversations with our friends over tea. We are two diasporic Korean women who were inspired by Nina Simone's quote, “An artist's duty is to reflect the times.” Cha is our offering to the collective and we hope our conversations inspire you to start having meaningful dialogues and reflections with your own communities. So make sure to brew a pot of cha and join our conversations about art, spirituality, culture, and liberation. Links Cha with Laura and Leah https://open.spotify.com/show/1z194Dm1oJ1U9GzqvJ0dT9?si=b3effad8f6484e57Firebird's Instagramhttps://www.instagram.com/diaryofafirebird/Firebird's Websitehttps://www.diaryofafirebird.com/Laura Instagramhttps://www.instagram.com/iamlaurachung/Laura Websitehttps://www.laurakchung.com/Laura YouTubehttps://www.youtube.com/@LaurakchungLeah Instagramhttps://www.instagram.com/leahsoojinkim/Leah Substackhttps://leahkim.substack.com/Leah YouTubehttps://www.youtube.com/@leahsoojinkim⁩  Links Support us on Cha's Patreon https://rb.gy/g6vtbmVenmo: http://bitly.ws/iXCSPaypal: http://bitly.ws/iXCb차 logo designed by grimeninja

Asians and Asian Americans are numerous within the classical music industry, but their identities are often politicized and racialized in this Eurocentric musical genre. For the third episode of Obbligato on APEX Express, Isabel Li discusses this intersection with Mari Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music (2007) and Dearest Lenny: Letters from Japan and the Making of the World Maestro (2019). Tonight's episode features music by Chinese American composer Zhou Tian. To learn more about Mari and her work, please visit her website: https://www.mariyoshihara.com/index.html  Musicians from a Different Shore: https://tupress.temple.edu/books/musicians-from-a-different-shore-2 Dearest Lenny: https://global.oup.com/academic/product/dearest-lenny-9780190465780?cc=jp&lang=en&  Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.    00:00:53 Isabel Li  Good evening. You're listening to KPFA 94.1 FM. My name is Isabel Li and I'm delighted to be hosting a new edition of Obbligato on Apex Express, which is a semimonthly segment specifically about AAPI identities in classical music. Tonight's guest is someone I have been incredibly excited to speak to because her writings have actually very much informed my studies and research. In fact, her books are exactly about the subject matter of Obbligato. I am honored to be speaking to Mario Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music, published in 2007, and Dearest Lenny: Letters from Japan and the Making of the World Maestro, which was published in 2019. Welcome to Obbligato on Apex Express. Mari, how are you doing?  00:01:55 Mari Yoshihara  I'm doing fine. Thank you for having me.  00:01:58 Isabel Li  Of course, my first question for you is how do you identify and what communities are you a part of?  00:02:06 Mari Yoshihara  Oh well, that's actually a little bit complicated I am. I am a Japanese woman who have spent a little bit over well, maybe not more than a little more than half of my life in the United States. Born in New York but raised in Tokyo, educated mostly in Japan, but also earned my graduate degrees in the United States and most of my academic career has been in Hawaii, so I've been in American academia for almost 30 years now, but I also have a dual appointment with the University of Tokyo in Japan. So I split my time between Japan and Hawaii now.  00:02:54 Isabel Li  Can you tell us a little bit about your work and your books? I had a chance to read Musicians from a Different Shore, but how would you summarize your research to someone who might not have read your book?  00:03:04 Mari Yoshihara  So I am a scholar of American studies, which is an interdisciplinary field that has anything to do with America broadly defined. And within that, my area of expertise is about, well, I would say I'm a scholar of US cultural history. US Asian relations, mostly US, East Asian relations, especially in the cultural dimension, cultural studies, gender studies, Asian American studies, etc. And so I have written a number of books, both in English and Japanese, but the one that you're referring to, Musicians from a Different Shore, is a book that I did research for more than 20 years ago and was published in 2007. It's a study of Asians and Asian Americans and classical music. So it was partly historical in that I examined the ways. which Western music, so-called western classical music, was introduced to East Asia and how also East Asians became have become so successful and prominent in this field that is generally considered a white European elite art form, so it was partly historical, but then the rest of the book was based on my ethnographic field work and interviews among Asians and Asian Americans in classical music looking at how well who these people are in the first place and then also how musicians, Asian and Asian musicians themselves, understand the relationship between their racial and cultural identity on the one hand, and their practice of Western classical music on the other, so that was my study.   And then I also wrote another book called Dearest Lenny. It's about—the subtitle is Letters from Japan and the Making of the World Maestro. It's about Leonard Bernstein's relationship with two very special individuals in Japan. And through that story, I interweave an account of various things. For one thing, how Leonard Bernstein became a world maestro and also the relationship between politics and arts, gender, sexuality, art and commerce, etcetera, etcetera. So that was my most recent book published in English and then, I'm sure we'll talk more about this, but I'm currently doing a follow up research on the on Musicians from a Different Shore, taking into account all the changes that have been taking place in the classical music industry in the United States in the past, I would say five years or so especially so that's my that's the abbreviated version of my research.  00:05:55 Isabel Li  That's really cool, and I also want to ask you about these changes, if you can talk a little bit about the classical music world. I feel like classical music is one of those genres that seems to be unchanging on the outside. But as a scholar of classical music, what types of changes have you observed that has influenced how AAPI identities play into this world?  00:06:18 Mari Yoshihara  Yeah, I think especially in the last, I would say, yeah, 5 to 10 years, especially in the last five years, classical music industry in the United, I mean I say specifically in the United States because I don't see the similar kind of changes taking place in Japan where I'm currently located. And I also don't really know the situation in Europe. But the field of classical music in the US is changing. I think most significantly because of movements like the Black Lives Matter movement and also with the onset of COVID and the rise of anti Asian hate, there's been a lot more heightened awareness about how issues of race and also class shapes classical music. So there's a lot more vibrant conversations and debates about these topics in the industry and also in terms of AAPI community, are the biggest changes, the biggest change I'm seeing is that Asian and Asian American musicians themselves are being a lot more vocal and active in issues of race and racism in the field and there I've encountered many Asian and Asian American musicians who have, for instance, you know organized events or organizations, or taken up various forms of advocacy and activism on these issues. So compared to, say, 20 years ago, 20, 25 years ago, when I was doing the original research, I see a lot more kind of, you know, explicit awareness and awareness and articulation of these issues by Asian and Asian American musicians themselves.  00:08:12 Isabel Li  That's really interesting. Just because classical music is also one of those genres, that doesn't seem like a genre that most people explicitly associate with politics or activism. What are some examples of these, like activist movements that you've observed within the Asian American community in classical music?  00:08:32 Mari Yoshihara  So for instance, some Asian and Asian American musicians are are becoming a lot more vocal about the actual like racism or sexism that they have themselves experienced, or that they witness in the industry, like in in schools, conservatories, orchestras, opera companies, etc. Either through the media or you know their own writing, and also like speaking up within the organizations that they work in. So that's one. There are other kinds of advocacy and activism in that they demand more diverse repertoire, and I think the repertoire is in terms of the industry industry changes. That's the area that's changing the most, the the kind of repertoire that many orchestras for instance perform have become a lot more– I mean overall it's still very white, European centered– but in terms of the actual numbers of pieces that are performed, works by living, composers and composers of color, women composers, etcetera. That is significantly increased in the last 10 years and that is, you know significantly to do with the advocacy and activism on the part of, you know, artists of color.  So yeah, so things like that and then, you know, many Asian, Asian American artists are doing their own programming, for instance, like event organizing programming. So yeah, those are the areas that I see changes. I see things happening that I didn't see 25 years ago.  00:10:20 Isabel Li  Definitely. I remember reading your book, and your book has been published since 2007, so a lot of changes have happened since then. But in general, when you did your research at first, what how would you summarize the dynamic of Asian identities, Asian American identities in this very Eurocentric field, it's a juxtaposition of two different cultures and identities that a lot of people also observe in orchestras. There's a large population of Asian and Asian American musicians, conductors just in general. It's a very large population, but yet this identity is still not quite represented in media. It's not quite seen, so talk to us a bit about this juxtaposition and how you observe these dynamics in your research.  00:11:10 Mari Yoshihara  Yeah. So. The thing is, Asians and Asian Americans are indeed numerically overrepresented in classical music, in the sense that compared to the general public, the the the proportion of Asians and Asian Americans in the overall US population, the number of Asian and Asian Americans in classical music indexed by things like the student body at major conservatories or membership roster of US orchestras, etcetera, Asians and Asian Americans percentage is higher than the general population, right. So in terms of the numbers, Asians and Asian Americans are, quote unquote overrepresented. But those numbers are not reflected in the actual like voice, power and influence that they have in the industry.   So that was my finding back 2025 years ago and I think that's still true today. Also, the thing about Asian, Asian American musicians is that it's a racialized category. They are seeing and treated as Asian. It's this racial category. But their identities and experiences as Asians is not at all uniform, right?   Some of these Asian musicians are Asian Americans, like multi generational Asian Americans whose parents or grandparents or great grandparents etcetera have come to the United States and they themselves are U.S. citizens. So that's one group.   Many Asian musicians working in the United States are people who were born and raised in Asia, places like China or South Korea, Japan, etcetera, and came to the United States as international students to study music, often at the college level, college conservatory level, so obviously these people have very different sense of identity and experience as Asians compared to say, you know 3rd, 4th generation Chinese Americans or 1.5 Korean Americans.   There are other people who live in the United States because they were very talented, very young musicians, and the whole whole family immigrated to the United States specifically for their music education. So Midori, the famous violinist, Midori is a case, example of this, but there are also a number of other, especially among Koreans and Chinese. There are families, the whole family immigrated to the United States when the child was a very promising musician at age 7 or something. So that's one group. They too have a different sense of identity and experience of Asians than the two former groups that I that I talked about.   There are other people who also came to the United States because not because of the music education, but because of their parents' profession, for instance. And they have transnational kind of family ties and you know, they move, they go back and forth between US and Asia, for instance. And then there are also mixed roots families where one parent is Asian and the other is non Asian.   And then there are also Asians who were born and raised in Europe for other parts of the globe and then came to the United States, for either personal or professional reasons.   So in other words, they're all Asians in terms of their racial identity. But what that means is really quite diverse and their experience as Asian and Asian American musicians is also quite diverse. So it's not as if you know, just because they're Asian, they share some kind of experience and identities around which they coalesce. So that's, you know, that was true 20, 25 years ago. And I think that's still true today.  More and more Asian musicians are coming to the United States to study, study or work in classical music, but especially because of this, like new influence, this Asian category is becoming even more diverse. However, because of the COVID, you know the rise of Anti Asian hate during the COVID pandemic, I think that heightened the awareness of, you know, these different kinds of Asians, the heightened awareness that they are Asians. First and foremost, you know, in, in that in the sense of being racialized in the United States. So I have talked with a number of musicians, Asians and Asian American musicians, who did not really, hadn't thought about their Asianness before. It wasn't at the forefront of their identity before, but during this rise of anti Asian hate it they became they basically became more politicized. You know, they had quite a politicized language and awareness to think about race and racism especially against Asians and Asian Americans.  00:16:31 Isabel Li  Yeah, that's a great point. It is a such a diverse group and there are so many different identities, even within just the Asian American framework AAPI, as a label is very, very diverse. And that applies to classical music as well. But I think there's also this social perception of Asian and Asian Americans as a group that also relates to the model minority stereotype that's historically been present and, for example, a lot of people might think of, like a young Asian or Asian American musician as being like a prodigy because they are technically skilled at their instrument, where like these social perceptions that exist both in media and in the culture around us, why do you think that is?  00:17:15 Mari Yoshihara  Well, that as you said, there is a model minority myth and there is a stereotype of Asians and Asian Americans as being very studious and diligent, but also quiet, right? I mean, they just quietly follow, like, obedient, obediently follow the instructions and that translates in the field of music as the stereotype that Asian musicians are technically very proficient but artistically non expressive. I mean, that's a very common stereotype that yeah, you know, practically any Asian, Asian Americans in classical music have been subjected to, you know, quite regularly and frequently. And I think that, yeah, that just comes with the overall kind of racial stereotype of Asians and Asians and Asian Americans in American society at large. And also the fact that, you know, classical music, especially in terms of instrumental performance, it is an area that is, it's something that is, indeed, technically very demanding, right? You need many, many years of disciplined training and a lot of practice. And there is a myth of merit– well, no, not entirely a myth– but there is this this very, you know, dearly held faith in meritocracy in classical music. The idea that if you have the chops you will be rewarded, you will be recognized and you know, no matter what kind of great artistic idea you might have, if you can't play the notes, you can't play the notes. That kind of ethos of meritocracy is particularly strong in classical music because of the technical demands of the genre, and that and that kind of, you know, goes hand in hand with the model minority methods for Asian Americans.  00:19:20 Isabel Li  Definitely. That's really interesting and another part of your book that was quite fascinating to me when I first read it was chapter 3. You talked about the intersection of gender as well as, you know, racial identity in classical music. The chapter is called Playing Gender and you talk about, I think at large don't necessarily associate classical music with a discipline that provides a stable job. It is an art form and there is kind of an uphill battle for artists in a sense like a starving artist myth there. We're not even a myth. Like if there's a starving artist image, whereas the image of a very successful classical musician there's this duality that you also mentioned in one of your other chapters about class. So what really interested me in for this chapter was that there was this intersection of power in classical music of who would go down the path that might not be traditionally as successful. How do you think gender dynamics play into this and how do you think they might have shifted within the last two decades or so?  00:20:20 Mari Yoshihara  Huh. I'm not sure if it has shifted all that much in the last two decades, but as you said, because music I mean, not just classical music, but music. Like, you know, arts in general is a field that is very like economically insecure in terms of career, right?   But at the same time. Classical music is associated with kind of, you know, bourgeois identity and just kind of overall cultivation and so, many Asian, Asian American parents are very eager to send their kids to, say, piano lessons, violin lessons, cello lessons, etcetera. To, you know, give them a well-rounded education and also because it is considered useful tool, you know, when you're going to college and stuff like, you know being, you know, being able to show that you're very talented violinist, for instance, is believed to help your college application.  So there's this, you know, both stereotype and reality that like, you know, places like Julliard Pre-College, very competitive, you know, school, like music education program for kids is filled with Asian, Asian American, you know, students and their parents who are waiting, waiting for them to come out of school.   So there's that. But how gender plays into this is that while both men and women are do study music at a young age. When it comes to, you know, choosing say, college, like what they would, what they would pursue at the college level, far fewer male students tend to choose music as their college major or go to conservatory and pursue it as a as a career. But I think it's both their own choice. And also especially for Asian and Asian Americans, like parental pressure to not pursue music professionally because of, you know, financial insecurity.   So there's that, and also how that plays into the actual experiences of Asian, Asian Americans musicians who do study music is that I have heard from a number of female Asian musicians that either their peers or especially their teachers are doubtful that they are actually serious about music. There is a stereotype that, you know, say for instance, Japanese or Korean female students at Juilliard School, Manhattan School or whatever, they are there because they, you know, they want to study music and then find a good husband and marry, you know, a lawyer or doctor or engineer or something. [laughs] And and not that that doesn't happen. But that's a stereotype of, you know, that's a racialized and gender stereotype that comes from these, you know, gender and class and racialized dynamics.  00:23:35 Isabel Li  And just for clarification, is the classical music world at large still a male dominated field?  00:23:41 Mari Yoshihara  Yes. Oh yes. Definitely. I mean, it depends on the segment of you know, I mean classical music is itself quite diverse. So if you look at, for instance, the string section, especially the violin section of the New York Philharmonic for instance, you will find that like, I think the majority of those violin players are Asian women, perhaps. But if you look at say for instance, the Faculty of Conservatories or music directors and major orchestras and said, I mean still very male dominated.  00:24:23 Isabel Li  Yeah. Yeah, definitely. I like how your book also has so many different layers for each chapter. So Chapter 3 was about the gender intersection with this, with this identity, and Chapter 4, was it Chapter 4, I believe it was about class, Class Notes, and you've already mentioned a little bit about how class plays into the perception of music, how class influences gender even. But there's a statement in there that you said that, “it's misleading to characterize Asian musicians as just coming from the upper middle class.” And it makes sense that people would think of musicians coming from this economic bracket, because classical music is an in and of itself a very kind of expensive undertaking. You need so many lessons, so many instruments. But tell us why this statement would be misleading.  00:25:15 Mari Yoshihara  Because I mean, first of all, most of the overwhelmed, I would say overwhelming majority of the Asian, Asian American musicians that I interviewed come from middle class backgrounds, many of them from so-called like professional executive class backgrounds in, meaning that their parents hold these professional executive positions, right. And that's why they were able to afford advanced musical studies from a fairly young age. They need, you know, sustained and disciplined and often costly, you know, lessons, you know, competitions, etcetera, auditions, travel, etcetera. So that's for sure, yeah.   At the same time, there are also Asian musicians who come from less privileged backgrounds, you know, immigrant families who have, because quite a few. I mean overall Asian American population, many immigrants experience downward social mobility upon immigrating to the United States because of, you know, oftentimes linguistic barriers or you know, or plain old racism. And so you're not Asian families that immigrate to the United States, like, for instance, if the parents have professional positions back in South Korea, oftentimes they become, you know, for instance, you know, small business owners and they experience downward social mobility. I mean, that's a very common scenario. Yeah, so now all Asian, Asian American musicians grow up in a privileged environment.  00:27:06 Isabel Li  Definitely a great point. Now before we move on to some discussions about Mari's research. First of all, thank you for tuning in to Obbligato on APEX Express, we'll be taking a short music break and as mentioned earlier, a great way to increase diversity within classical music is to uplift works by living composers. If you're listening to my first.  00:27:26 Isabel Li  Episode 2 months ago, you'll know that I featured music by Chinese American composer Zhou Tian. I'm happy to say that coming up next is one of Zhou's compositions inspired by a trip to Italy. This is a piece called Hidden Grace performed by the Formosa Trio.  27:45 – COMP MUSIC – Hidden Grace  00:35:34 Isabel Li  That was a piece called Hidden Grace, composed by Zhou Tian for a fascinating instrumentation of flute, Viola and heart coming up for our second piece. In this interview, break another movement by Zhou Tian, the third movement of his double concerto for violin and Viola, called Rendezvous.  35:58 – COMP MUSIC – Double Concerto for Violin and Viola, III. Rendezvous  00:41:09 Isabel Li  Noah Bendix-Balgley on violin, Shanshan Yao on viola, and the Hangzhou Philharmonic, playing the third and final movement of Zhou Tian's Double Concerto for violin and viola. So back to the conversation with Professor Mari Yoshihara.  00:41:25 Isabel Li  As you also mentioned before, you're working on an updated version of Musicians from a Different Shore. Can you talk–I don't know how much you can talk about your, like upcoming projects, but are you using similar research methods to what you've done before using ethnographic field work? You've mentioned the new changing dynamics of classical music in the United States with new waves of activism and awareness. What are some new topics of your chapters that you might focus on? So for your 2007 publication, you talked about your gender and class and how these intersect with identity. Are there any new things that you're drawing upon here?  00:42:02 Mari Yoshihara  Yeah. So I'm using basically the same research method. I'm interviewing actually some of the same people that appeared in Musicians from a Different Shore. Some people kept in touch with over the years, I've gone back to them and interviewed them to see the trajectories of their careers since the first time I interviewed them. But then I've also interviewed a bunch of other, you know, new musicians that I'm speaking with for the first time. So it's essentially an interview and ethnographic fieldwork-based research.  I told you earlier about I think one of the biggest changes is, as I said before, the activism and advocacy on the part of Asian, Asian American musicians themselves. So I have one chapter about that. Like, what? How? What kinds of advocacy and activism they're engaged in.   Another big change that I'm seeing is that compared to 20 years ago, there are a lot more Asian musicians in the field of opera.  00:43:01 Isabel Li  Ohh yeah.  00:43:02 Mari Yoshihara  Uh. Both as singers. Yeah, many of them singers, but also in other, you know, like for instance opera, you know, pianist for opera or be opera directors, et cetera. There are many more Asians in this particular field than what I saw 20 years ago. And I talked about this a little bit in my first book, but opera is a very particular kind of field within classical music.   How race plays into opera is very different from other areas of classical music because it's a theatrical art form. It's visually oriented, you know art form. And because singers have to be cast in order to, you know, sing on stage. So the racial politics in opera, you know, unfolds very differently from, say, for pianists or cellists or conductors or or composers.   So I now have a whole chapter about opera, especially Madame Butterfly, that this very fraught work, you know, opera that many Asian and Asian Americans have love hate relationships. A lot of pigeon-holing that happens in that through that opera. But also, production of new opera by Asian and Asian American artists, composers, directors, singers, etcetera. So I have a whole chapter about that.   And then I also will have another chapter about, you know, what it means to, you know, sit at the table, basically. Like stand on the podium and sit at the table, stand on the podium. Not only, I mean I will, I will have a whole discussion about Asian and Asian Americans conductors, but not only in that literal sense of, you know, standing at the podium, but like being at the table like in other words, not only, Asian and Asian American musicians playing music that are given to them and they are assigned to them that they're hired to play, but also having a real voice in the organizational and institutional dimensions of classical music industry. So the kinds of people, Asians, who are in these positions more executive positions with decision making power what their experiences are like. I'm going to have a chapter about that.   So those are some of my ideas. I'm still in the middle of the project, so I can't. I can't see the whole picture, but those are some of my current ideas.  00:45:48 Isabel Li  I see. And do you have an idea of when this book will be published or an updated version?  00:45:54 Mari Yoshihara  Well [laughs], my goal rather ambitious goal is to have it published in 2027, because that would be 20 years since Musicians from a Different Shore, so that would be ideal if I can make that.  00:46:08 Isabel Li  Well, yeah. Nice. That's really exciting, definitely. I will also kind of bridge, I guess my part of the research into this part of the interview, since I'd love to talk to you a little bit more about how classical music in general is portrayed in media.   So as I've introduced myself before, I had a back, I have a background in media studies as well as music history and theory. And what was really interesting to me in my senior thesis while I was doing research for that was I coined this term and it could just be loosely associated with the genre of film. But it's the “classical music film.” So think of any narrative fictional film you can think of with a classical musician in there. So it could be like Amadeus, where I think of like Tár. If you watch Tár like a lot of these depictions are quite understandably white and European, but they my senior thesis I've never really seen any depictions of Asian American or Asian classical musicians? I was wondering if you have ever watched a film like that, or could maybe talk a bit about maybe the lack of representation in media, how media plays into how people perceive classical music as a genre as a whole.  00:47:23 Mari Yoshihara  That is a very interesting question. I think you know, because of the stereotype of Asian and Asian American model minority and model minority stereotype often is associated with, you know, violin or piano-playing Asian American kids, I think. Asian, Asian American characters who are, you know, these kind of musical classical music geniuses appear here and there. But the ones that center on such a character as the main, you know, like the protagonist, come to think of it, I'm not sure if I've seen. I mean, I've seen several Korean dramas, you know, character, but those are Korean dramas, not Asian American, so more American works with Asian classical musicians…  00:48:21 Isabel Li  And I think also classical music as a genre is. It's interesting because classical music is also kind of underrepresented. It's not quite in the mainstream. And then one of my final questions for you is I do also want to take a second to acknowledge that your book was actually one of the only books that I could find about this topic. I think there are not that many other books about Asian and Asian Americans in classical music. I think there are a few other books and a few and definitely some papers that talk about this, but what got you interested in this field? And I don't know if you think there's a scarcity of information, but do you think there's relative scarcity of information about this topic?  00:49:01 Mari Yoshihara  Yeah. So how I got into it is. So I was a pretty serious student of piano when I was a child. That's like, yeah, that really kind of preoccupied my childhood and adolescence. But then I, for various reasons I ended up not going to a music Conservatory and became an academic.   And then once I entered academia and became a scholar of American studies, all I was studying was like race, gender, class. I mean, that's what  we do in American studies. And my first book, which was originally my doctoral dissertation, was a cultural history of orientalism and white women. So that was a study of the intersections of race and gender and to some extent class in American history.   So once I finished that book, I was thinking about what projects to work on next. And I happened to turn on the TV, and it just so happens that the Vienna Phil New Year's concert, conducted by Seiji Ozawa was playing on the TV and that was sort of my “aha” moment because I had always known or, you know, kind of generally aware that Asians and Asian Americans are, if not necessarily overrepresented, but, you know, they're quite numerous, you know. They're present. Their numerical presence is quite notable in classical music that is often associated with white, you know, European culture, elite culture.  So I was kind of curious about that phenomenon, but I hadn't really thought too much about it until I watched Seiji Ozawa were conducting the Vienna Phil. And that's when I thought, well, maybe I can kind of combine my classical music background and my academic training in studies of race, gender, class into this project. So that's when I decided to work on. You know, this topic of Asians and Asian Americans, classical music.  I think the reason that there hadn't been at least a book-length study on the topic until my book is that for one thing, classical music is considered to be kind of a very abstract absolute form of music. This ethos that it is kind of transcends– that it is a universal, transcendental kind of genre, that is sort of above things like politics or race or gender. Like it shouldn't matter that these, you know, individual identity, racialized gender identity shouldn't matter vis-à-vis the universalism of classical music. I mean that kind of ethos is very strong in this particular genre of music. I think that has a lot to do with it.   And also the study of classical music until rather recently, like musicological study of classical music, really tended to be focused on the study of composers and their works, right? It was the textual that, like it, was an analysis of Beethoven Symphony or, you know, Bach Fugues, etcetera. Yeah. It was really focused on the study of the score, the study of the composer's ideas, as reflected in the score, I mean that was the centerpiece of musicological approach to classical music.  And so sort of more sociological anthropological study of the musical practice is a relatively new approach in in the field of musicology. I'm not a musicologist. So that's not how I'm trained. But I think the academic approach to classical music was not very, kind of, open to the kinds of topics that I raised in Musicians from a Different Shore.  00:53:12 Isabel Li  Definitely. I see. And my very final fun question for you is can you name three of your favorite classical music pieces for any recommendations you have for the audience who might be listening, who might be wondering what they will listen to next?  00:53:27 Mari Yoshihara  Well, OK well. Pieces well, because I wrote a book about Leonard Bernstein. I mean, I ended up– I wrote a book about Leonard Bernstein. Not necessarily because I was an avid fan of Bernstein. It just kind of happened this this project. But nonetheless of while I was doing research and writing the book I did listen to a lot of Bernstein. I and I have come to really love Bernstein music and so. And you know, of course, everybody knows West Side Story, but he actually wrote many other pieces that may not be as well known.   Well among the pieces that I like, I like…which one should I choose? I will choose. Ohh well, I'll choose a piece that I learned myself as a pianist.  I learned the piece called “Touches” that he wrote. It was a commission piece for the Van Cliburn International Piano Competition, and it's kind of yeah, it's a chorale and variation. So that's very interesting and very interesting and very Bernstein-esque so well.   I'll OK, as an American study scholar. I'll, I'll stick with American pieces. I like someone Barber a lot. I like Barber “Excursions,” which I also learned to play.  00:55:04 Isabel Li  Yeah.  00:55:09 Isabel Li  Tough question.  00:55:11 Mari Yoshihara  Umm, Mason Bates piece that I also learned, “White Lies For Lomax.” This one was also, I believe…was it commissioned by the Cliburn? But no, maybe it wasn't. Yeah, I think it was commissioned. But anyway, I played it at the Van Cliburn International– the amateur competition of the Cliburn competition.  I did all these. So like Bernstein, Bates, Amy Beach piece I also played. Yeah, I'll stop there. I I wish you had prepped me for that then [laughs]–  00:55:42 Isabel Li  Oh my gosh. Great responses.  00:55:46 Mari Yoshihara  Hard to think on the spot.  00:55:47 Isabel Li  Yeah, I totally get that. Whenever people ask me for my favorite composer, I never have an answer. No, so I totally get it.   Well, thank you so much for your time, Mari. And thank you for your wonderful insights. I'll put the link to your books so that people can learn about your works on APEX Express on kpfa.org. So thank you so much for your time, Mari.  00:56:07 Mari Yoshihara  Thank you.  00:56:09 Isabel Li  As mentioned, please check our website kpfa.org to find out more about Mari Yoshihara, her scholarship, and links to two of her books. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world. Your voices are important.  00:56:31 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA  for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 09.04.2025 – Obbligato with Mari Yoshihara appeared first on KPFA.

In this episode, Dr. Xiaofei Zhou, Associate Program Director of Neurosurgery at University Hospitals, discusses her journey into endoscopic spine surgery, her priorities for advancing education and patient care, and how collaboration and innovation are shaping the future of minimally invasive spine procedures.

In this episode, Dr. Xiaofei Zhou, Associate Program Director of Neurosurgery at University Hospitals, discusses her journey into endoscopic spine surgery, her priorities for advancing education and patient care, and how collaboration and innovation are shaping the future of minimally invasive spine procedures.

The hosts of Mr. Zhou's Ghost Stories reunite with the director and guests of video series Mr Zhou's Ghost Stories@Singapore Sightings S2 to share behind-the-scenes moments and chilling encounters during filming. The director revealed that after shooting in Malaysia, it felt as though a “spiritual switch” had been turned on — back in Singapore, the team became more sensitive and prone to sensing unusual presences. Fortunately, they carried protective talismans given by a master. One even bore mysterious scratches, interpreted as having warded off an attempted possession. A guest remarked at first sight, “You carry a very strong energy,” confirming the talisman’s protective effect. Meanwhile, Mindy shared a spine-chilling experience at home: her three-year-old daughter, placed safely in a raised crib, dressed in a sleep sack she couldn’t remove on her own, was seen sound asleep on the baby monitor. Yet, at 10 p.m., the child appeared at the second-floor staircase crying, “Mommy.” Strangely, both the baby monitor and CCTV had gone dark at the same time… 《周公讲鬼》七夕特别篇上线！主持群与【周公讲鬼 哪里有鬼2】导演嘉宾齐聚，分享幕后故事与拍摄趣事。导演与嘉宾透露，在马来西亚拍摄后，灵感似乎被“开启”，回到新加坡后变得更敏感，容易感应到异常。所幸随身携带师傅所赐符咒，符纸表面甚至出现刮痕，被解读为挡下“鬼上身”的前兆。某嘉宾初见便直言“你身上有股强大的能量”，印证了符咒确实发挥保护作用；Mindy分享发生在家中的离奇事件：三岁的女儿被安置在加高的婴儿床里，穿着无法自行脱下的睡袋，被监控摄像头确认安稳入睡。谁料深夜十点，孩子竟出现在二楼楼梯口哭喊“妈妈”。诡异的是，房内婴儿机与闭路电视同时“断片”...See omnystudio.com/listener for privacy information.

With the end of the Jinshin War, Oama, posthumously known as Temmu Tenno, came to the throne.  And though they would need a new Great Council of State, they continued to build up and bolster the Ritsuryo state.  They were imagining a new Yamato based on continental models of what a state should look like, but also influenced by tradition.  This episode we take a look at that reimagining in broad strokes, asking a few questions--what was Oama's relationship with his brother, and touching on the relationship of Nakatomi no Kamatari and his brother, Nakatomi no Kane.  We also take a look at some of the literary propaganda that also helped to codify this new imaginary--the Nihon Shoki and the Kojiki.  We also touch on other sourcesof information, like the Fudoki and Man'yoshu. For more information, check out our blog:  https://sengokudaimyo.com/podcast/episode-133   Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua, and this is episode 133: Reimagining Yamato As the bells of Houkouji tolled, Ohoama and his wife, Uno, surveyed the construction on going in the Asuka valley.  Hordes of workers had been called up, and now they were working furiously towards the deadline of the new year.  Where once stood the later Wokamoto palace of Takara Hime, aka Ohoama's mother, Saimei Tennou, now the land was being prepared for a palace on a much grander scale.  And just as the palace was being remade, Ohoama's thoughts went beyond the valley, to the entire archipelago.  His brother, Naka no Oe, had started something profound.  Now here he was, helming the Ship of State, and Ohoama had plans of his own, built upon his brother's ideas.  He would build a new state, ensuring that the reforms that started back in 645 would continue for generations. Greetings everyone and welcome back.  As we dive back in, let's recap where we are. The year is now 673, and the fighting from the previous year—the Jinshin war—is over.  Prince Ohoama and his Yoshino forces were victorious and he is now poised to ascend the throne in the recently built Palace of Kiyomihara, in Asuka.  He will be known to future generations by his posthumous name:  Temmu Tennou. Ohoama would go ahead and continue to centralize the government under the continental model.  That said, he also would pay a not insignificant amount of attention to local tradition as well.  His reign would lead to the establishment of the first permanent capital city: Fujiwara-kyo.  He is also credited with initiating the projects collecting various historical records, which culminated in the Kojiki and the Nihon Shoki, the very chronicles on which this podcast is based – and both of which seem to have been designed specifically to promote the authority of the throne, specifically Ohoama and his descendants. Those descendants—the Temmu dynasty—would rule for almost a century, including four of the eight official female sovereigns (those eight become ten if you count the unofficial Himiko and Okinaga Tarashi-hime, aka Jingu Tennou).  This dynasty would reign from the end of the Asuka period up through to the Nara period, and it would see the evolution of the Yamato state into the kingdom of Nihon—which is to say the kingdom of Japan. The politics of this period were also quite something.  It is during this coming period that we see the rise of the famous Fujiwara family, who would come to dominate the political landscape.  We also see the continued contact with the mainland, with numerous trade goods coming over, many of which would be included in the famous Shousouin storehouse of Toudaiji temple, in Nara. Buddhism would also thrive, with Kokubunji, or provincial temples, being set up in a network around the archipelago.  There was also the building of the famous Daibutsu, or Giant Buddha statue, of Toudaiji. Art would also flourish.  The Man'yoshu would be published at this time—a collection of around 4,500 Japanese poems, or waka.  Meanwhile, the court would also focus on continental styles as well.  From this point on, not only do we have more evidence of what was happening through the written record, but the writing itself changed.  Different Sinitic characters were borrowed solely for their sound to help spell out Japanese words.  These would eventually be simplified, and known as “kana”.  The earliest use of these characters is known as “Man'yo-gana” because so many are traced back to the Man'yoshu itself.  They would eventually be standardized and simplified, becoming the hiragana and katakana we know and use today. But in 673, all of this is still on the horizon. So this is a great time to pause for a bit in our journey through the chronicles and set the stage for this next, incredibly transformative period in the archipelago by going over these larger patterns in some depth, so that, as we start to go through this period we get a better idea of just what was happening, and perhaps why.  That's what we'll do this episode. To start with, let's go back to the relationship between Naka no Oe and Ohoama.  As far as we can tell, these brothers were fairly close to one another.  Not only was Ohoama married to one of Naka no Oe's daughters, Princess Uno, he had actually taken as consort at least four of Naka no Oe's other daughters—all of which were Ohoama's nieces.  In turn, one of Ohoama's own daughters, Princess Touchi, had been married off to Ohotomo, aka the ill-fated Koubun Tennou.  On top of that, Naka no Oe and Ohoama both had taken as consorts daughters of Soga no Akaye, and both Ohotomo and Ohoama had consorts from Nakatomi—or Fujiwara—no Kamatari.  This demonstrates just how interrelated everyone was at court, presumably as a means of strengthening the ties between them.  Of course, as we've seen time and again, those ties were more symbolic than anything else, and certainly did not prevent the occasional use of violence, nor did it protect the fathers of those women from political repercussions when they found themselves on the wrong side. On the other hand, beyond the initial mention of their births, we don't see the two brothers together until Naka no Oe came to the throne.  Why?  Well, to be fair, we don't see much of anyone but the sovereign in the Chronicles unless there is a specific thing they are called out for—like an embassy, presenting something to the throne, etc.  Even Naka no Oe often isn't mentioned directly, even when he was the Crown Prince and supposedly helping run the government.  So that could be it. There are two apparent counter arguments to the idea that Naka no Oe and his brother, Ohoama, were tight.  First is a mention in the Toushi Kaden, the Family History of the Fujiwara Family, about Ohoama thrusting a spear into a board, which rattled Naka no Oe enough that he was apparently wondering if he needed to have his own brother taken out.  Then there is Ohoama's resignation at the time of Naka no Oe's death, presumably because he was warned that a plot was afoot, and that if he accepted Naka no Oe's offer to take the reins of the state in his own two hands then something—we aren't told what—would unfold. I can't rule out the idea that neither of those accounts is quite accurate either, however.  It is possible that the Toushi Kaden account is embellished to heighten Fujiwara no Kamatari's own role as peacemaker between the brothers.  I also have to wonder if the warning to Ohoama around Naka no Oe's death wasn't so much about Naka no Oe, but about his ministers.  After all, they seem to have had no problem supporting the much younger—and likely more malleable—Prince Ohotomo.  So it seems to me entirely possible that there were other threats that Ohoama was concerned with. That brings me to one of those ministers:  Nakatomi no Kane.  We talked about him before and during the war.  He first showed up participating in ritual and speaking on kami matters.  He would later rise to be one of the Great Ministers of State, and was one of the six ministers who had pledged themselves to Prince Ohotomo.  At the end of the Jinshin War, he was put to death and his family was banished.  That said, in period leading up to all of that,  we spent a good amount of time with another Nakatomi: Nakatomi no Kamatari. He was the head of the Nakatomi clan and the Naidaijin, the Interior Minister, a special position placing him on par, or even above, the Ministers of the Left and Right, but which did not have a well defined portfolio noted in the literature.  Interestingly, this position also doesn't seem to have survived Kamatari, at least in the short run.  From the time of Naka no Oe, aka Tenji Tennou, to the time of Ohoama, aka Temmu Tennou, it seems that the office of Naidaijin fell out of favor, possibly due, in part, to Prince Ohotomo being raised to a different post, that of Dajou Daijin, placing him in charge of the Great Council of State. The Naidaijin role wouldn't be revived until 717 for Kamatari's grandson, Fujiwara no Fusasaki (interestingly,  only three years before the completion of the Nihon Shoki). Nakatomi no Kane was, as far as we can tell, the brother to Kamatari.  When Kamatari passed away, Kane seems to have taken on the role as head of the Nakatomi family and he was also made Minister of the Right.  This mirrors, in its way, the relationship between Naka no Oe and Ohoama, and the common system of inheritance that would often go brother to brother.  And yet, while Kamatari was a hero of the Taika era, Nakatomi no Kane was executed for his role in the Jinshin War.  So in the context of the rise of the Fujiwaras to greater prominence later on in Ohoama's reign, it is significant that Kamatari's line would be set apart from the rest of the Nakatomi to the extent of giving it the new Fujiwara name.  Although the Chronicles claim that the “Fujiwara” name was actually granted by Naka no Oe, there is a thought that this was granted posthumously, and may have even been retconned by later members of the family, possibly to distance themselves from Nakatomi no Kane and his role on the losing side of the Jinshin War, and tie themselves clearly to Kamatari and his founding role in Naka no Oe's and Ohoama's new vision, instead.  This all brings me to my next point: the creation of the national histories.  The projects that culminated in what we know today as the Kojiki and the Nihon Shoki are said to have been started under Ohoama's reign, though they wouldn't be finished until much later, well into the 8th century.  A lot of what went into them was work under Ohoama's wife Uno, who succeeded him as Jitou Tennou, as well as her successors.  Prince Toneri, one of Ohoama's sons, is said to have overseen the Nihon Shoki's compilation. Prince Toneri was son of Ohoama and princess Niitabe, one of Naka no Oe's daughters, and while he never sat the throne, himself, one of his sons would eventually do so.  As such, we can see a strong royal hand on the project, even though the actual composition was probably by several teams of Chroniclers—we touched on this briefly back in Episode 131. The Kojiki, on the other hand, is said to have been written by Oho no Yasumaro based on the oral history that had been maintained by Hieda no Are.  We don't know much about Hieda no Are—there are some that believe they may have been a woman, since a passage in a later work, the Seikyuuki, suggests that they were a member of the Sarume no Kimi family, descended from Ame no Uzume no Mikoto, who is said to have danced and helped lure Amaterasu out of the rock cave.  And so they were particularly known for their role as shrine maidens—a particularly female role.  That said, Are received the title of “toneri”, which is often assumed to be male, and there is nothing else that explicitly says they were not. Either way, Hieda no Are is said to have been commanded by the sovereign, Ohoama, to memorize the history of the nation, presumably to then perform it as needed, for the court.  Only later was Oho no Yasumaro asked to write it down in what became known as the Kojiki. Both of these chronicles were attempts to organize the history of the nation and to put together all the stories in a way that would establish a foundation for the new state that was evolving out of ancient Yamato.  A large part of that effort was going to be to justify those who were in power at the time—including both the royal family and the various noble houses at the time, including the powerful Fujiwara. Now, when we talk about how these histories were created to bolster the state, I want to be careful.  It may not have necessarily been the case that the chroniclers were actively and consciously promoting a fictional account.  From what we can tell, the chroniclers drew from a collection of stories, some written down in diaries and court records, works like the Baekje annals and continental histories, and some that were likely just memorized tales that were part of the general culture.   There were a couple of existing histories—we are told, for example, that there was a Teiki and a Kyuji floating around, both attributed to the legendary Shotoku Taishi, and both supposedly including the royal lineage at least to Toyomike-kashikiya-hime, aka Suikou Tennou.  However, the copies that were being passed around were apparently suspect, and we are told that there were inconsistencies.  Which probably means that the way they told the story did not conform to the way that Ohoama and the royal family wanted it told, though it could also refer to the fact that different accounts had slight variations on the stories, many of which had probably started as oral traditions that were only later written down.  It is also likely that there was only so much detail in those ancient texts, but we can't know for sure.  The Sendai Kuji Hongi purports to be the text of the original Kyuuji, or Kyuujiki, but that claim is dubious, at best, though it may have used an older, no longer extant history to crib its own notes from. So there were probably some writings, already, but there was also so much more.  There were stories from various familial records, stories told by various shrines about their kami and their histories, and stories passed down as local history that had never been captured, previously.  All of this was good material for the project of creating an official national history that aimed to tell the whole story. To get an idea of what the Chroniclers of that time might have been going through, imagine that you have some 2,000 random facts about the United States, or any country of your choice, in no particular order—stories of heroes, presidents, wars, etc.  On top of that, only a few of them ever give you any kind reference dates, and when they do, those dates are only in relationship to the presidents in office – the third year of the presidency of Roosevelt, for example - or maybe they reference another event.  In addition, some of the facts have been lost, or they come from history books with a slightly different format.  Or they come from diaries with different perspectives and takes on the same event.  And then, without the aid of the Internet or any other reference material, you are asked to put all of that together into a coherent narrative. In all likelihood you would be able to generally construct many of the broad strokes.  You would leverage what you know to be true and do your best to put things in place, but there is no guarantee that everything would be in the right order.  And in places where there wasn't any clear through line, you may have needed to come up with your best, most plausible explanation and write that down. Also, imagine you had, in the interests of completeness, thrown in some of the more, shall we say, apocryphal stories.  George Washington cutting down a cherry tree, for instance, or the story of Johnny Appleseed, or even the more fantastical stories of Davy Crockett.  Without other reference points, would you know where they went, or how true they actually were? Add to all of that the lack of a referential calendar.  The sexagesimal system helps for units of 60 years, but there was nothing comparable to a western calendar in use at the time.  Instead, everything was based on the number of years in a given reign.  So instead of thinking about it as “did this happen in 584 or 524?” it was more like “Did this happen in the years of the sovereign reigning from X palace or Y palace?” Now that said, there do appear to have been individuals whose job was to memorize the stories and the histories and recite them.  We have, for example, the Kataribe, the guild of storytellers.  It may have been out of this tradition that we get the eventual commission of the previously mentioned Hieda no Are, who was to memorize all of the historical events and recite them back, which I can only imagine would have been a kind of performance for the court, helping to reinforce the narrative.  But still, as Are was putting everything together, what were the assumptions and guidelines they were working under? After all, there were no doubt certain truths, whether factual or not, that were pushed by the court.  Things like the idea of an unbroken line of sovereigns going all the way back to the mythical founding, just like in continental stories.  Or, the idea that worship centered from the beginning around the sun goddess, Amaterasu. There is plenty of evidence that while the early Wa people practiced various forms of sun worship, with traces found in their language as well as stories, cultural traditions, etc., it was not necessarily Amaterasu who was the primary deity of worship.  Back in the Age of the Gods we talked about the creator deities, Izanagi and Izanami, and about the High god of Heaven, Takami Musubi, who seems to at one point been the most prominent central deity, but who had since been eclipsed, if you will, by the likes of Amaterasu. We also see evidence that there were other sun deities.  The language around Sarutahiko no Ohokami suggests that he may have once been worshipped as a sun deity as well.  And there is the early primacy of Mt. Miwa as a place of worship, and the spirit of Ohomononushi.  This is to say nothing of Ohokuninushi, and all of his stories, up in Izumo. Furthermore, it seems telling that Amaterasu is not even central to the rituals conducted in the palace itself, which likely went back to an even earlier period.  If Amaterasu were central, and the ancestral kami of the royal family since its inception, one would expect that Amaterasu would also be central to the rites carried out by her descendants in the royal palace.  And yet most of her worship appears to have continued to be set apart from the palace ritual, and conducted out of Ise shrine (albeit after a certain point ceremonially led by a designated female member of the royal line). Even Ise shrine itself isn't the primary shrine in the Ise area—the Ichi-no-miya, or most important shrine, of Ise is actually said to be Tsubaki shrine, worshipping Saruta Hiko no Ohokami and Ame no Uzume. So how did Amaterasu come to be so central in Ohoama's vision? There are stories that say that worship at Ise Shrine—and worship of Amaterasu—was specifically conducted by Ohoama's wife during the Jinshin campaign.  This is to say Ohoama's wife, primary consort, eventual queen and then queen regnant, Uno, later known as Jitou Tennou.  Remember, Uno had fled with Ohoama and had been on the trail with him at first, but had stayed behind in Ise.  Worship towards Ise seems to have later been counted as foundational to Ohoama and Uno's victory, and many suspect that they themselves may subsequently have encouraged greater worship of Amaterasu and placed her in the central position of sacral authority amongst the various kami. If so, that could explain why their histories focus so much on Amaterasu and her Heavenly descendant, from which the royal line claimed direct lineage.  It might also be around this time that the story of Iwarebiko, aka Jimmu Tennou, and the conquest of Yamato from Himuka may have been introduced: telling how Iwarebiko justifiably took away the land from the descendants of Nigi Hayahi, and then connecting Iwarebiko, in an extremely loose fashion, to Mimaki Iiribiko no Mikoto, aka Sujin Tennou. Another influence on all of this was likely the continental concept that time is a circle, and history repeats itself.  Chroniclers seeking to place events in a narrative context would have likely seen reflections of more recent events and used that to help order their compilation.  And of course, if there were events that seemed to run counter to the truth as known by the court, well, those could be smoothed over.  In this way, co-rulers were probably serialized, inconvenient interim rulers may have been excised altogether, and different dynasties, which may have only had tenuous connections, at best, were written down as direct lineal descendants.  It also seems telling that the Chroniclers may have reduced the role of what appears to be matrilineal succession to a more patriarchal and patrilineal determination of legitimacy.  Similarly, connections could be made for families to ancient ancestors through whom they were able to claim a certain proximity to the royal family.  Likewise, rules for legitimacy could be imposed—or perhaps just assumed—for previous reigns, doing their best to bring them into harmony with the social norms and the cultural imaginaries of the late 7th and early 8th centuries. So that's the general context the Chroniclers were working under. But at this point it's illuminating to take a look at the two histories and how they differ, to see what we can understand about where those differences came from. The work of Hieda no Are, eventually recorded and written down as the Kojiki, seems to have dealt with history that was far enough back that it was likely hard to argue with—it isn't like there was anyone alive who could counter with their own facts.  And the Kojiki reads as a fairly straightforward narrative, relatively speaking. The Nihon Shoki, on the other hand, is a different beast.  While the Kojiki may have captured the official narrative, the Nihon Shoki seems to have been designed to include more—including some of the competing accounts.  Thus you'll get a lot of things like “another source says…” with a different take on the same event.  This is much more prevalent in the Age of the Gods, but still pops up occasionally throughout the rest of the text.  Nonetheless, it is still very much focused on the royal line from Amaterasu down to Naka no Oe and Ohoama.  Even their posthumous names, Tenji and Temmu, specifically reference Ten, also pronounced Ama, at the start of their names, in what appears to be a bid to further connect them to the sun goddess of Heavenly Brightness--Amaterasu. Both of these works have their own character, and while the dates they were presented to the throne—713 for the Kojiki and 720 for the Nihon Shoki—suggest that they were published in succession, there are those that argue that the Kojiki is largely a reaction against the Nihon Shoki. In all likelihood the contents of the Nihon Shoki were known to many people before it was presented.  There were groups of Chroniclers involved, after all -- which meant teams of scribes pouring through sources, seeking out myths and legends, and generally trying to bring everything they could to the table.  And there is no indication that this was done in secret.  So it is quite possible that the writers of the Kojiki had seen some of the early drafts and cribbed from those notes. Some of the ways that the the history differ are in their portrayal of certain accounts.  For example, the Kojiki presents Iwarebiko and the pacification of Yamato and archipelago more generally in terms of that mythical sovereign conversing with the spirits.  And so he converses with, for instance, Ohomononushi, the deity of Mt. Miwa, a spirit whose name might be translated as the Great Lord of the Spirits, or “Mono”.  This idea places the sovereign as an intercessor between the mortal and the spirit world.  It hearkens back to earlier systems of sacral kingship, where power and authority came, at least in part, from supposed power of one's sacred sites and protective spirits. The Kojiki is also written in a much more vernacular style, using kanji and what we know of as man'yogana, the kanji used for their sound, rather than meaning, to provide a syllabary with which to write out Japanese words.  This may have been done for similar reasons to why it was also used in the Man'yoshu itself—because the Kojiki was meant to be recited aloud, not just read for meaning. The Nihon Shoki, in contrast, is clearly attempting to emulate the continental style.  It relies much more heavily on not just the characters but the grammar of Chinese, though not without its own idiosyncrasies.  The Nihon Shoki incorporated classical references that mirrored the references found in the histories of the Tang and earlier dynasties.  I suspect, for instance, that this is one of the main reasons that Naka no Oe and Ohoama are given the posthumous names of “Tenji” and “Temmu”.  Tenji means something like the Wisdom of Heaven while Temmu is more like the Martial Virtue of Heaven.  This immediately brings to mind, for me, the continental concepts of Wen and Wu—Culture and Warefare, or Bunbu in Japanese.  This even mirrors the founding Zhou kings, King Wen and King Wu.  Later, in the Han dynasty, you have Emperor Wu of Han, the grandson of Emperor Wen of Han, and Wu was considered to be one of the greatest emperors of the Han dynasty.  And so I can't help but think that there was a similar attempt at mythmaking going on here, connecting these two reigns with the reigns of famous emperors of the continent.  Of course, “Wu” was a popular name amongst the imperial dynasties from that period onward, with emperors of Jin, Chen, Liang, and others all being given the same name. This all accords with the way that the sovereign in the Nihon Shoki is less of a sacral king, interceding and speaking with the kami, and more along the continental model of an absolute ruler who ruled by divine right and heavenly mandate.  The lands outside of Yamato are subdued and, except for the occasional uprising, stay subdued—or at least that is what the narrative would seemingly have us believe. Now, I would argue that these distinctions are not absolute.  The Kojiki contains plenty of concepts of imperial trappings, and the Nihon Shoki contains plenty of examples of the sovereign playing a more traditional role.  But it is something to consider in the broad strokes of what they are saying, and I would argue that it also speaks to the duality of what was going on in this period.  Clearly the Ritsuryo State was built on the continental model, with an absolute ruler who ruled through a Heavenly mandate.  And yet at the same time, we see Ohoama patronizing the traditional spiritual sites and kami worship, like the emphasis on Amaterasu and Ise shrine.  Besides the Kojiki and the Nihon Shoki, we have one more set of official records that were compiled just as the major histories were beginning to be finished.  These were the Fudoki.  Fudoki were texts about the various provinces, and they include information on the various places, population, soil quality, as well as various local myths and legends attached to such things.  Rather than supporting the royal lineage, the Fudoki were more geared towards supporting the process begun under Karu and Naka no Oe with the Ritsuryo system whereby knowledge of the archipelago was being centralized such that the State could know about its territories.  Still, there are many times that the various Fudoki refer to different sovereigns, often to help situate a given event roughly within the historical narrative. The Fudoki were commissioned in 713.  At least 48 chronicles were said to have been compiled, but only a handful of them remain extant today.  Most are only partial texts, though even those can still contain significant information.  We also have purported text from certain fudoki that were reprinted in later histories.  The Shaku Nihongi seems to have been one such work, expressly commissioned to try and compile various older records that were likely aging and in danger of being lost altogether.  However, there is a concern regarding just how faithful those later transcriptions might have been, meaning that we cannot rely on them, entirely.  Still, they are an invaluable addition to our study of the history of this period. I mention all of this because much of this period seems dedicated to remaking the nation of Yamato into what we know as Japan.  This evolution didn't happen overnight, and it seems clear that it started gradually, but had now come to a head.  There is some consideration, though, that many of the things attributed to earlier reigns—the work done by Shotoku Taishi, for example, or even that of Naka no Oe—may have been embellished in this period.  After all, consider the difference between Ohoama trying to institute something entirely new versus pointing back to a previous sovereign and claiming that he wasn't innovating, he was just following tradition. But there are still unmistakable signs of innovation in the following reigns.  The creation of the first permanent capital city, for one.  There was also the blending of Buddhist and local kami-based traditions.  While Buddhism had been ascendant for a while, now, we see Ohoama seemingly paying equal homage to Amaterasu and the local kami.  Even while instituting new fangled continental ideas, he is also hearkening back to traditions that I can only imagine helped assuage some of the fears of any traditionalists who saw the rapid speed at which the archipelago was adopting at least the trappings of continental imperial culture. Speaking of culture, there was one other work that we should probably mention, and that is the famous Man'yoshu—the collection of 10,000 Leaves.  I mentioned this briefly earlier in the episode, but I do want to discuss it a bit, because as much as we may glean from the official histories, as well as the various fudoki texts, the Man'yoshu provides an invaluable view into the minds of the people of the time, and contains some incredibly useful tidbits of information that, when put together, help give us a better idea of what was happening during this period. The Man'yoshu is a collection of more than 4500 poems attributed to various historical figures, from sovereigns, such as Ohoama and Naka no Oe, to common soldiers.  It is remarkable in that the poems are largely in native Japanese and are not using the Sinitic poetry styles that were popular with scholars of the time. These poems are waka, Japanese verse, which typically follows a pattern of repeating verses of 5-7-5 syllables or morae, ending with two lines of 7-7.  The most simple of these are tanka—one top verse of 5-7-5, and one bottom verse of 7-7.  However, the poems in the collection can vary quite a bit. They are also remarkable in that they are written in what we know as Man'yogana.  That is to say they use Sinitic characters—kanji—but for their sound rather than their meaning in many cases.  This practice allowed for much more nuanced writing, such that the author could be more certain that the correct meaning could be taken away, since Japanese grammar differs greatly from various Chinese languages, and leverages particles and suffixes that are non-existent in Sinitic script.  Often times, when reading something like the Nihon Shoki, one has to infer the Japanese word order, particles, and suffixes from the text as a whole.  This is common with any kanbun—a very Japanese style of Chinese writing that often requires its own study to fully understand. Meanwhile, the Man'yogana allowed someone to more easily sound out the letters in the Man'yoshu.  This must have been important when morae or syllable count was important to the art form.  Furthermore, it gives us tremendous insight into how spoken Japanese may have sounded  back in the 8th century. And of course it is great that we have all of these poems, but almost more important is the other information contained in the collection.  Most poems not only are attributed to a particular author, but they often give a brief introduction to lay out the circumstance in which the poem was composed.  These poems are, in many ways, more straightforward than many later poetic styles, which relied much more heavily on so-called “pillow words”, poetic allusions, or callbacks to previous poems—not that they were completely devoid of such references, especially to other, often continental, works. Some poems are actually paired—a type of call and response.  A man would often be expected to send a poem to a lady with whom he had recently had assignations, and she would often respond.  Through such correspondence, preserved in the poetic record, we can see connections that might not be as clear in the various historical texts. Now, 4500 is a lot of poems and I'll be honest, I'm probably not going to be researching all of them for historical tidbits, but it is nonetheless important to understand.  One should also be careful—while the poems are often attributed to various artists and famous persons, this may sometimes be misleading.  The attribution may have been garbled or forgotten, and recreated. Most of the poems in the Man'yoshu are presented with at least some amount of framing around them.  They are grouped loosely by various themes.  We are then told, for each poem, the composer and the occasion for which it was created.  Sometimes this may be as simple as “when they were out hunting”, but that still gives us some context on which to go by as for why the author was writing the poem in the first place. The poems themselves vary in size.  There are short poems, or tanka, but also longer form chōka poems, with multiple verses.  Some may allude to previous poems, but many of the poems are just about the author's feelings.  Unlike haiku, they were not quite so proscribed in terms of “pillow words” or requisite seasonal descriptions. And yet these poems, just as much as the histories, were important in capturing some part of the cultural zeitgeist from that time.  We can see what was considered popular or important, and it was there for future generations down until today. Ultimately the Kojiki would largely be overshadowed by the more comprehensive and prestigious seeming history in the Nihon Shoki.  The Nihon Shoki would become the official history, inspiring future historical records, such as the Shoku Nihongi, the continuation of the records.  The Man'yoshu, likewise, would be emulated, with future compilations like the Kokinshu. These, in turn, would impact the cultural imaginary of the time.  They would shape people's ideas about the past, about art, and even about the nature of the kami themselves.  During this period it is hard to understate just how much they were setting in place a new system.  It is even difficult to tell how much of that system had actually been instituted by previous sovereigns, even though it's hard to tell how much that actually happened as opposed to simple claims by Ohoama and, later, Uno, to justify what they were doing.  Up to this point, the Ritsuryou State and the various reforms had been an experiment, but under Ohoama we truly see that the new government upgrades would be fully installed.  At the same time, we also see a shake up in the court.  Those who had been loyal to Ohoama during the Jinshin conflict of 672 received various rewards—increased rank and stipend, for one thing.  As famous individuals passed away, they were also granted posthumous rank, which might not seem like much, but it increased the family's prestige and that of the individual's descendants without actually handing out a higher level stipend that would be a drain on the coffers.  All of this also continued to build up the elites' reliance on not just the court, but on the throne itself for their status, wealth, and position.  Thus they had a vested interest in seeing that the project succeeded. And that is the world that we are about to dive into.  Thank you, I know we didn't get into too much of the immediate history, and some of this is spoilers—after all, this took time and in the moment it could have turned out quite differently.  What if Ohoama had gotten sick and died?  What if there had been a rebellion?  What if Silla or Tang had attacked?  While we know what happened from the safety of our vantage point, far in the future, it is important to remember that at the time the people in the court didn't know what would happen next, so please keep that in mind. Next episode, we'll start to get into the actual events of the reign, starting with Ohoama's ascension to the throne at the newly built Kiyomihara palace in Asuka. Until then, if you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website,  SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  Thank you, also, to Ellen for their work editing the podcast. And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.

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A film director shared his eerie encounter in a private-hire car and how it inspired him to create a horror short film. Mr. Zhou's Ghost Stories Team went on to film the second season of “Where the Ghosts Are – Told by Zhou Gong.” Since host Zhou Gong felt unwell during the first season’s shoot, the outdoor filming this time was handled by the director and crew members, while Zhou Gong took charge from “headquarters.” Recording locations spanned across Singapore and Malaysia, including abandoned buildings, old opera stages, cemeteries, schools, department stores, and highways. Guests recounted chilling experiences linked to “wandering spirits” and graveyards. Some were so frightened during the process that they could not continue with the ghost-hunting. 电影导演分享在私召车上经历的灵异事件，以及如何启发他拍摄鬼故事短片。 团队拍摄《周公讲鬼哪裡有鬼》第二系列的过程。由于主持人周公过去曾在第一系列中感到不适，这次改由导演与团队成员负责外景拍摄，周公则在“总部”指挥任务。节目录制地涵盖新加坡与马来西亚的废弃建筑、戏台、墓园、学校、百货公司及公路等地点。 来宾们分享了与“外来灵体”和“坟场”相关的故事。过程中有人受到惊吓，甚至不敢继续探灵。See omnystudio.com/listener for privacy information.

En lo último en salud y fitness edición de agosto 2025, damos un paseo por las últimas tendencias, investigaciones y noticias en el mundo de la salud y el fitness.Este mes traemos un episodio cargado de temas que van a cambiar la forma en que piensas sobre tu entrenamiento y tu salud.Vamos a hablar de algo que seguro te has preguntado alguna vez: ¿entrenar en ayunas te hace perder músculo o es solo un mito? También veremos qué hay de cierto en toda esa publicidad sobre probióticos para atletas, y si realmente necesitas gastar tu dinero en ellos.Además, analizaremos a la creatina, pero no solo como el suplemento estrella para tus músculos: resulta que podría tener efectos sorprendentes en tu cerebro, especialmente contra el Alzheimer. Y para cerrar, desmontamos uno de los grandes mitos de la medicina moderna: que la diabetes tipo 2 es una condición de por vida.Atajos Del Episodio02:25 - Entrenar en Ayunas: ¿Estás Quemando Músculo o Quemando Mitos?107:32 - Probióticos para Atletas: ¿La Revolución Intestinal o Solo Mucho Ruido y Pocos Resultados?212:20 - Creatina: El Suplemento para Músculos que Podría Rescatar tu Cerebro316:32 - Diabetes Tipo 2: ¿Sentencia de por Vida o Problema Reversible?420:16 - Alimentos Ultraprocesados: La Ruta Directa de la Despensa al Hígado Graso5Referencias:1.      Vieira, A. F. & Blanco-Rambo…, E. Impact of Overnight Fasted State Versus Fed State on Adaptations to Resistance Training: A Randomized Clinical Trial. … Journal of Sport … (2025).2.      Shirkoohi, N. M., Mohammadi, H. & Gallaly…, D. Q. The effects of probiotic supplementation on body composition, recovery following exercise‐induced muscle damage, and exercise performance: A systematic review …. Physiological … (2025).3.      Smith, A. N., Choi, I. Y., Lee, P. & Sullivan…, D. K. Creatine monohydrate pilot in Alzheimer's: Feasibility, brain creatine, and cognition. … Research & Clinical … (2025).4.      Zhang, S. et al. Effect of hypoglycemic agents with weight loss effect plus a high protein diet and moderate exercise on diabetes remission in adults with obesity and type 2 diabetes: a …. BMC medicine (2025).5.      Guo, C., Yang, W., Zhou, J. & Wang…, J. J. Ultra‐Processed Food Intake and Risk of Adverse Liver Outcomes: A Meta‐Analysis. Journal of Food … (2025).

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Ming-Wei Chen and Fangheng Zhou, the scientists behind RephImmune, join hosts Lynnsey and Matthew to discuss how their biotech startup is developing a next-generation cell therapy platform designed to overcome the limitations of CAR-T.  With a focus on ovarian cancer, RephImmune's RACE-T technology targets solid tumors by re-engineering immune cells to better locate, penetrate, and survive in the harsh tumor environment. Ming-Wei and Fangheng share their personal motivations, the science behind their approach, and how programs like SCbio DRIVE are helping them move closer to clinical trials. Tune in now!

2025 U.S. Championships Day One WAG! This is our live coverage from New Orleans. We'll start about an hour after the meet  ends. Login to reveal the extended meet report. Here's how to ask questions live. Can't make it live? Add BTS to your favorite podcast player (instructions here). GymCastic LIVE featuring MORGAN HURD: Tickets on sale now SENIOR RESULTS OF DAY ONE Rivera - 55.600 and beam with 14.350. Roberson - 55.400, leading FX with 14.150  and tied for first on UB with Zhou for 13.650.  Wong - 55.100 and leading VT with 13.675 Not a member? Join here.We have a weekly Behind The Scenes live Q&A podcast and post-meet live exclusives all year long. It's all part of the bonus content for our Club Members who supporting our work year around.  CHECK OUT FACT CHECKER'S NEW BOOK WITH AIMEE BOORMAN The Balance: My Years Coaching Simone Biles by Aimee Boorman with Fact Checker is topping the sport charts - SUCK IT SPORTS BALLS! Get your copy now. And if you loved reading (or listening) to the book, please leave a review. BONUS CONTENT  Club members can watch Vanessa Atler's live show by logging in to her live show page, it will appear below. Join Club Gym Nerd (or give it as a gift!) for access to weekly Behind the Scenes episodes. Club Gym Nerd members can watch the podcast being recorded, participate in watch-alongs with Spencer, access to all of our exclusive extended interviews, Behind The Scenes and College & Cocktails. Not sure about joining the club?  College & Cocktails: The Friday Night NCAA Gymnastics Post-Meet Show is available to sample (even if you aren't a Club Gym Nerd member yet). Watch or listen here. MERCH GymCastic Store: clothing and gifts to let your gym nerd flag fly and even “tapestries” (banners, the perfect to display in an arena) to support your favorite gymnast! Baseball hats available now in the GymCastic store NEWSLETTERS Sign up for all three GymCastic newsletters  RESOURCES Spencer's essential website The Balance Beam Situation  GIFs of the Week and Meet schedule with links. Gymnastics History and Code of Points Archive from Uncle Tim RESISTANCE  Submitted by you. Action ResistBot Turns your texts into faxes, postal mail, or emails to your representatives in minutes 5Calls App will call your Congresspeople by issue with a script to guide you Make 2 to your Congressional rep (local and DC office). 2 each to your US Senators (local and state offices) State your name and zip code or district Be concise with your question or demand (i.e. What specific steps is Senator X taking to stop XYZ) Wait for answer Ask for action items -  tell them what you want then to do (i.e. draft articles of impeachment immediately, I want to see you holding a press conference in front of...etc.) Indivisible Practical ideas about what you can actually do in this moment, check it out: indivisi.org/muskorus Donate or volunteer for organizations suing the administration for illegal actions Lawsuit tracker by subject ACLU Southern Poverty Law Center Northwest Immigration Law Project Stay Informed: 6 Tools for Tracking the Trump Administration's Attacks on Civil Liberties Podcasts: Amicus Daily Beans Pod Save America Strict Scrutiny Immigrant Rights Know Your Rights Red Cards We Have Rights Video ACLU: Your Rights 

On this episode of Unsupervised Learning Razib talks to Jack Despain Zhou, executive director of the Center for Educational Progress (CEP). Despain Zhou is a graduate of Western Governors University, and is completing his J.D. at Temple University. A former cryptographic analyst for the US Air Force, Despain Zhou is better known as a former producer for Jesse Singal and Katie Herzog at Blocked and Reported under the pseudonym Tracie Woodgrains. Despain Zhou's mission with CEP is to push for individualized learning programs “where every student can advance as far and as fast as their curiosity and determination will take them.” In short, not only does CEP support tracking, but it believes that more individualized learning environments are what allow students to flourish. Despain Zhou talks about how his own life informed his interest in this topic, going from a precocious and curious toddler to a sullen elementary school student. He explained to his mother at the time how the boring, regimented one-size-fits-all mentality of the public school system removed all his passion for learning. Despain Zhou talks about how the levelling and equity oriented philosophy of the modern educational establishment is extremely unpopular, but has nevertheless taken root in ed schools and therefore has advocates among both teachers and administrators. He makes the case that CEP's advocacy is needed given the educational theorists' intense and passionate fixation on keeping students of all talents at the same level; this is a case where Despain Zhou argues common sense is far superior to esoteric research for which there is truly no robust evidence.  

In this episode of PEEPanEIP, we dive into EIP-7907, a proposal aimed at increasing the maximum smart contract size on Ethereum. Learn why this change matters, how it impacts developers, and what it means for the future of complex dApps.

Quella di Zhou Enlai è la storia del Partito comunista, della nascita della Repubblica popolare e di una relazione tutta particolare, a tratti conflittuale, con Mao Zedong. Zhou è l'uomo d'azione, Mao quello delle idee. Zhou è il parafulmine per le decisioni più scellerate di Mao. Ma è anche l'immagine della Cina all'estero. Intento a mitigare l'immagine più radicale di Mao. Gli inserti audio della puntata sono tratti da: 中国上海1930年影像 Shanghai, China 1930, canale YouTube 英弟, 9 aprile 2024; Zhou Enlai's speech, canale YouTube Mikey, 14 aprile 2022; Interview with Zhou En Lai, canale YouTube PublicResourceOrg, 1 luglio 2011; Long March Song Cycle 1976--Victory Celebration (长征组歌(选段) --祝捷,1976), canale YouTube Haotian Cao, 29 ottobre 2012; Mao Zedong Full Speech Restored (1949), canale YouTube All things Old, 19 agosto 2022; UPITN 17 1 76 ZHOU ENLAI LIES IN STATE, Ap Archive, 16 aprile 2018. Learn more about your ad choices. Visit megaphone.fm/adchoices

Long before “cold damage” became a checkbox on exams or a buzzword among classical enthusiasts, Dr. Liu Du-Zhou was quietly doing the work—teaching, treating, and writing from a mind steeped in both lineage and clinical experience. He wasn't just preserving tradition; he was refining it. His approach to the Shang Han Lun was rigorous yet poetic, grounded in clinical realities and shaped by decades of upheaval in 20th-century China. There's a humility to his voice—a self-proclaimed “still-learning” doctor in his seventies—and a precision that cuts through theory to show how fire and water, yin and yang, truly move through the human body.In this conversation with Eran Even, we explore Dr. Liu's remarkable clarity and how it comes through in a slim but potent book that Eran has translated into English. Eran walks us through the experience of engaging deeply with Liu's thinking, from the literary style of Zhang Zhong-Jing to the physiological relevance of Qi transformation.Listen into this discussion as we trace the importance of channel theory, the overlooked presence of water pathologies in the modern clinic, the inner workings of fire and fluid dynamics, and how Liu Du-Zhou's reflections on the six confirmations can shift the way we understand both health and disease.

Resistant starch acts more like fiber than starch—and may offer unique benefits for blood sugar, gut health, and more. In this episode, we break down the different types, where to find them, and how they compare to other sources of fiber.Transcript: https://nutrition-diva.simplecast.com/episodes/resistant-starch-your-questions-answered/transcriptMentioned in this episode: Episode 915, Multi-grain vs whole grainEpisode 560, Fiber 2.0—Fiber's New Science of Health-Boosting BenefitsEpisode 728, Tapping into the many benefits of resistant starchesReferences:Wang, Y., Chen, J., Song, Y.-H., Zhao, R., Xia, L., Chen, Y., Cui, Y.-P., Rao, Z.-Y., Zhou, Y., Zhuang, W., & Wu, X.-T. (2019). Effects of the resistant starch on glucose, insulin, insulin resistance, and lipid parameters in overweight or obese adults: a systematic review and meta-analysis. PubMed. https://pubmed.ncbi.nlm.nih.gov/31168050/Yuan, H. C., Meng, Y., Bai, H., Shen, D. Q., Wan, B. C., & Chen, L. Y. (2018). Meta-analysis indicates that resistant starch lowers serum total cholesterol and low-density cholesterol. PubMed. https://pubmed.ncbi.nlm.nih.gov/29914662/ New to Nutrition Diva? Check out our special Spotify playlist for a collection of the best episodes curated by our team and Monica herself! We've also curated some great playlists on specific episode topics including Diabetes and Gut Health! Also, find a playlist of our bone health series, Stronger Bones at Every Age. Have a nutrition question? Send an email to nutrition@quickanddirtytips.com.Follow Nutrition Diva on Facebook and subscribe to the newsletter for more diet and nutrition tips. Find out about Monica's keynotes and other programs at WellnessWorksHere.comNutrition Diva is a part of the Quick and Dirty Tips podcast network. LINKS:Transcripts: https://nutrition-diva.simplecast.com/episodes/Facebook: https://www.facebook.com/QDTNutrition/Newsletter: https://www.quickanddirtytips.com/nutrition-diva-newsletterWellness Works Here: https://wellnessworkshere.comQuick and Dirty Tips: https://quickanddirtytipscom

What would it mean for America's schools to focus on excellence? Jack Despain Zhou is the founder of the Center for Educational Progress, a new think tank focused on promoting academic excellence. He joins the show to talk about whether we've gone too far in the pursuit of equity goals in education, how we can support and challenge students at every ability level, whether or not tracking is a good idea, and ultimately what a vision of a stronger education system could look like. To get bonus episodes, support us at patreon.com/newliberalpodcast or https://cnliberalism.org/become-a-member Got questions? Send us a note at mailbag@cnliberalism.org. Follow us at: https://twitter.com/CNLiberalism https://cnliberalism.org/   Join a local chapter at https://cnliberalism.org/become-a-member/

Dr. Sun, the solo practitioner of an extraordinary medical specialty, is asked to save one last patient by the protege who abandoned her. Copyright khōréō magazine 2025. Story by Shiwei Zhou, edited by Isabella Kestermann. Audio edition read by Ishani Kanetkar and produced by E. Broderick, with casting by Jenelle DeCosta. Visit khoreomag.com and follow us on Twitter, Instagram and Facebook @KhoreoMag. Music: This Too Shall Pass by Scott Buckley https://soundcloud.com/scottbuckley Creative Commons Attribution 3.0 Unported CC BY 3.0

Supio, an AI-driven platform developed specifically for personal injury lawyers, has been generating a lot of buzz. On the heels of reporting record growth last year and raising $25 million in Series A funding in October, last month it raised another $60 million in a Series B round. But what do the lawyers who use the platform think of it? On today's LawNext, we hear from one of those lawyers, as well as from the company's cofounder and CEO. Our guests today are:   Tyler Schneider, managing partner of the personal injury law firm TorHoerman Law. Schneider was an early adopter of Supio. He and his firm used it to help obtain a $495 million verdict against Abbott Labs in a case involving allegations that cow's milk-based infant formula caused intestinal inflammation in premature babies. Jerry Zhou, the CEO of Supio who cofounded it in 2021 together with his childhood friend and coworker Kyle Lam after having held product management and engineering roles at Microsoft and Avalara.    In their conversation with host Bob Ambrogi, Zhou and Schneider talk about the development of Supio, its real-world impact on plaintiffs' lawyers, and their wish lists for further development of the product. They also share their thoughts on how AI is likely to reshape PI practice more broadly.    Thank You To Our Sponsors This episode of LawNext is generously made possible by our sponsors. We appreciate their support and hope you will check them out. Paradigm, home to the practice management platforms PracticePanther, Bill4Time, MerusCase and LollyLaw; the e-payments platform Headnote; and the legal accounting software TrustBooks. Briefpoint, eliminating routine discovery response and request drafting tasks so you can focus on drafting what matters (or just make it home for dinner). SpeakWrite: Save time with fast, human-powered legal transcription—so you can focus on your practice   If you enjoy listening to LawNext, please leave us a review wherever you listen to podcasts.  

Brooklyn's Sunset Park is a tight-knit neighbourhood, where families share meals, traditions, and the quiet rhythm of daily life. But on one October night in 2013, that quiet was shattered—when blood-curdling screams echoed down 57th Street, piercing the stillness and drawing neighbours to their windows.SPONSORS -Nutrafol: Find out why Nutrafol is the best-selling hair growth supplement brand. Get $10 off with promo code “MORBIDOLOGY” at: https://nutrafol.com/FUM: Head to https://www.tryfum.com/MORBIDOLOGY  and use promo code MORBIDOLOGY   to kick your bad habit today!SHOW NOTES - https://morbidology.com/morbidology-podcast/PATREON - https://www.patreon.com/morbidologyYOUTUBE: https://youtube.com/morbidologyBecome a supporter of this podcast: https://www.spreaker.com/podcast/morbidology--3527306/support.

Welcome to another episode of the Clinical Unknown Series! Mark presented a case with a chief complaint of constipation to Debora and Mengyu, and there was an unpredictable turnover. Embark on this diagnostic journey with us!  Download CPSolvers App here RLRCPSOLVERS